SIIImI 


MICHAEL  B.  CORDON 


RAPHAEL  MORGHEN’S 


ENGRAVED  WORKS. 


Of  this  Letter-Press  Edition 
Only  250  Copies  have  been  Printed. 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/raphaelmorghenseOOhals 


RAPHAEL  MORGHEN’S 


ENGRAVED  WORKS 


BEING  A 

Descriptive  Catalogue 

OF  ALL  THE  ENGRAVINGS  OF  THIS  MASTER 


THE  INSCRIPTIONS  GIVEN  AT  FULL  LENGTH,  AND  THE  VARIATIONS 
OF  THE  STATES  PRECISELY  SET  FORTH 


ACCOMPANIED  BY 


BIOGRAPHICAL  AND  OTHER  NOTES 
WITH  A LIFE  OF  THE  ENGRAVER 


FREDERIC  ROBERT  HALSEY 

HARVARD.  A.M.;  COL.  COLL.  LL.B. 


NEW  YORK  & LONDON 

G.  P.  PUTNAM’S  SONS 
Jiraclurboclur  |)r£ss 
1885 


COPYRIGHT  BY 

FREDERIC  ROBERT  HALSEY 
1885 


Press  of 

G.  P.  Putnam’s  Sons 
New  York 


Go,  little  booke,  God  send  thee  good  passage, 
And  specially  let  this  be  thy  prayere, 

Unto  them  all  that  thee  will  read  or  hear, 
Where  thou  art  wrong,  after  their  help  to  call, 
Thee  to  correct  in  any  part  or  all.” 


CONTENTS. 


PAGE 

Preface  vii 

Life  of  Raphael  Morghen  ......  xiii 

Catalogue  of  Plates i 

Chronological  List  of  Plates 167 

Index  of  Artists 1 73 

Alphabetical  Index  of  Subjects 175 

Errata 183 


PREFACE. 


Some  nine  years  ago  the  author  of  this  volume  made  a rough 
literal  translation  into  English,  for  private  use  only,  of  the  quaintly 
written  and  primitively  constructed  monograph  on  Raphael  Mor- 
ghen,  published  by  the  engraver’s  friend  and  admirer,  Niccolo  Pal- 
merini,  at  Florence  in  1824.  This  was  the  third — and  last — edition, 
with  additions.  The  first  and  very  incomplete  edition  was  published 
in  1810,  and  was  reprinted  verbatim  in  the  “ Annals  of  the  Fine 
Arts,”  1819,  vol.  IV.,  p.  575  et  seq.  “ Le  Cabinet  de  1’ Amateur,” 
Paris,  1842,  vol.  I.,  p.  97,  et  seq.,  published  a French  literal  trans- 
lation of  the  edition  of  1824,  which  is  the  only  translation  knowm. 
Palmerini’s  work,  however,  was  soon  found  to  be  of  small  practical 
utility,  as  it  amounted  to  little  more  than  a tribute  of  praise  penned 
by  an  affectionate  friend,  and  without  any  attempt  at  giving  a 
detailed  account  of  the  various  states.  It  is,  in  fact,  only  valuable 
as  giving  a tolerably  accurate  but  imperfect  chronological  list  of 
the  plates. 

From  the  brief  beginning  above  mentioned  the  present  vol- 
ume has  slowly  developed,  and  has  considerably  exceeded  in  its 
dimensions  the  original  intention.  The  chief  aim  has  been  to 
point  out  the  changes  .in  the  successive  impressions  from  every 
plate,  and  to  transcribe  with  great  care  and  accuracy  the  inscrip- 
tions and  the  discriminative  marks  on  each — i.  e„  to  indicate  clearly 
the  various  “ states.”  Perfection  in  such  a task  is  hardly  attain- 
able, but  the  author  trusts  that  his  earnest  endeavor  will  be 

vii 


PREFACE. 


viii 

appreciated  by  those  who  may  find  a use  for  the  book.  It  is  unfor- 
tunate that  his  readers  are  so  much  more  likely  to  be  minutely 
critical  rather  than  numerous  ; but  all  information,  and  the  pointing 
out  of  such  errors  of  omission  and  commission  as  may  be  found, 
will  be  gratefully  received  and  will  help  make  the  work  more  per- 
fect. The  volume  is  largely  a compilation,  and  in  all  such  publica- 
tions typographical  and  other  mistakes  are  all  but  inevitable. 

Since  its  inception  it  has  been  to  the  writer  a labor  of  love, 
and  has  been  the  happy  occupation  of  many  a leisure  hour  and  the 
occasion  of  forming  several  very  pleasant  and  enduring  personal 
associations.  Its  completion  has  been  accomplished  by  slow 
degrees,  and  sometimes  it  has  been  laid  aside  and  untouched  for 
months,  even  years,  at  a time.  That  its  object  has  not  been  fore- 
stalled during  all  this  period  is  still  a matter  of  surprise,  and  the 
most  likely  explanation  seems  to  be  that  the  matter  treated  of  is 
not  probably  the  fashion  of  the  day  ; the  interest  in  line-engraving 
— at  least  temporarily — is  made  to  give  way  to  the  modern  English 
and  French  schools  of  etching.  The  art  public  wants  broad  treat- 
ments, and  especially  landscapes  and  architectural  effects.  Meis- 
sonnier  must  yield  to  Millet ; Meryon  to  Haig. 

The  author  is  deeply  indebted  for  the  frequent  and  valuable 
assistance  so  universally  and  generously  afforded  him  ; and 
especially  are  his  thanks  due  to  the  custodians  of  the  public 
collections  throughout  Europe,  who  have  shown  most  unvarying 
and  patient  courtesy,  particularly  those  presiding  over  the  Print 
Room  in  the  British  Museum,  Messrs.  Louis  Fagan,  Reid,  and 
Colvin.  To  Mr.  Fagan  the  writer  is  indebted  for  much  help  in 
art  topics,  in  which  Mr.  Fagan  possesses  such  broad  and  learned 
information,  all  of  which  he  has  so  kindly  allowed  to  be  freely  used 
in  these  pages. 

Messrs.  Frederick  Keppel  & Co.,  the  printsellers  in  New 
York,  and  also  the  Messrs.  Clement  and  Jules  of  the  Rue  des 


PREFACE. 


IX 


Saints-Peres,  Paris,  and  the  Messrs.  Grandi,  of  Milan,  have  most 
generously  permitted  the  freest  access  to  their  large  and  valuable 
stocks,  and  have  besides  frequently  placed  their  highly  prized 
experience  at  the  author’s  disposal. 

Thanks  are  also  due  to  the  President  and  Secretary  of  the 
Milan  Academy  of  the  Fine  Arts,  who,  with  the  greatest  politeness, 
allowed  the  writer  the  amplest  facilities  for  inspecting  the  treasures 
of  the  Brera  Collection. 

To  Mr.  Alfred  Masked,  of  the  South  Kensington  Museum,  he 
is  under  special  obligation  for  the  proffer  of  the  unrestricted  use  of 
his  scholarly  and  valuable  “ Catalogue  of  the  Brassey  Collection,” 
privately  printed,  and  of  which  frequent  advantage — by  his  per- 
sonal and  polite  permission — has  been  taken  in  these  pages. 

A few  words  concerning  the  three  most  important  collections 
of  Morghen’s  prints  cannot  fail  to  be  interesting  to  his  admirers, 
and  the  first  to  deserve  notice  is  the  magnificent  one  in  the  British 
Museum,  which  is  so  often  referred  to  in  this  volume.  Its  origin 
and  history  are  thus  officially  described  by  Mr.  Louis  Fagan  in 
his  “ Handbook  to  the  Department  of  Prints  and  Drawings  in  the 
British  Museum  ” : “ It  was  first  formed  by  Signor  Jacopo  Tarma, 
living  in  the  Palazzo  Priuli  at  Venice,  and  he  was  aided  by  Signor 
Aloisi  Albrizzi,  an  intimate  friend  of  Morghen,  to  whom  the 
engraver  presented  several  impressions  of  his  works.  After  the 
death  of  Signor  Tarma,  his  heirs  parted  with  the  entire  collection 
to  Signor  Luigi  Bardi,  who  still  further  added  to  it ; and  he  after- 
wards sold  it  to  Mr.  Colnaghi  in  1842,  from  whom  it  was  purchased 
for  the  National  Collection  in  May,  1843,  for  the  sum  of  £ 1,575.” 
It  is  by  far  the  most  complete  in  existence,  and  is  remarkable 
not  only  for  the  variety  of  the  states,  but  also  for  the  fine  con- 
dition of  the  various  impressions. 

The  collection  in  the  Brera,  Milan,  is,  with  a few  exceptions, 
composed  of  impressions  given  by  the  engraver  as  they  were 


X 


PREFACE . 


printed,  to  his  friend  Gaetano  Poggiali,  who  afterwards  parted 
with  them  to  Giuseppe  Bossi.  The  latter — himself  an  engraver — 
often  showed  these  to  his  friend,  the  eminent  engraver  and  rival  of 
Morghen,  Giuseppe  Longhi,  who  inspected  them  carefully.  This 
collection  consists  of  unusually  choice  and  rare  impressions,  some 
unique  ; but  is  very  incomplete.  The  present  writer,  on  the  occa- 
sion of  a visit  to  the  Brera  in  1884,  was  informed  by  the  custodian 
that  several  of  the  portfolios  had  not  been  touched  for  seven  years, 
and  it  was  added  that  “ they  had  never  seemed  to  attract  much  at- 
tention and  were  never  inquired  after  ! ” 

The  Brassey  Collection — the  third  and  last  which  need  be 
mentioned — is  thus  described  in  the  private  catalogue  by  Mr.  Alfred 
Maskell  : “ It  belonged  to  Raphael  Morghen  himself,  and  was  first 
disposed  of  by  means  of  a lottery.  It  was  subsequently  purchased 
from  the  winner  (in  whose  possession  it  had  remained  for  many 
years)  by  two  gentlemen,  and  presented  by  them  to  Sir  Thomas 
and  Lady  Brassey  on  the  occasion  of  their  marriage  [Oct.  9,  i860]. 
The  collection  is  one  of  the  most  complete  in  existence,  comprising 
examples  of  nearly  all  the  subjects  engraved  by  Raphael  Morghen, 
and  numerous  trial  and  unfinished  proofs.” 

It  would  be  impossible  to  gather  together  to-day  any  thing 
like  a complete  collection,  so  many  unique  impressions  having 
been  absorbed  into  and  locked  up  in  the  various  museums  and 
national  collections,  from  which  they  seldom  emerge.  As  long  as 
any  specified  impression  of  any  plate  is  in  private  possession  there 
is  some  chance  that  it  may  find  its  way  into  circulation,  but  there 
is  little  hope  of  this  after  it  has  once  got  into  the  possession  of  a 
museum. 

The  arrangement  of  this  Catalogue  is  in  the  alphabetical  order 
of  the  titles  of  the  plates.  This  is,  in  a measure,  an  innovation, 
but  after  long  deliberation  it  has  been  decided  upon  as  probably 
the  most  convenient.  To  facilitate  its  use  very  full  indexes  have 


PREFACE. 


xi 


been  prepared,  both  alphabetical  and  chronological.  The  need  of 
these  is  so  vital  to  all  works  of  this  character  that  the  greatest 
attention  has  been  paid  to  their  perspicuity  and  completeness. 
The  multiplicity  and  variety  of  the  titles  of  many  of  Morghen’s 
plates  have  been  recorded,  so  that  in  the  Alphabetical  Index  the 
plate  can  be  found  under  any  recognized  name. 

Throughout  the  Catalogue  itself  the  portraits  have  been  desig- 
nated by  a with  a view  to  making  them  more  conspicuous  and 
more  readily  discernible.  This  plan  was  suggested  by  its  strik- 
ingly advantageous  use  in  the  Catalogue  of  the  Gray  Collection,  so 
admirably  compiled  by  Mr.  Louis  Thies. 

In  describing  the  states,  it  was  finally  thought  best  to  discard 
the  generally  used — and  much  abused — method  of  referring  to 
“ artist  proofs,”  “ proofs  before  letters,”  “ with  the  artists’  names,” 
“ open  letter  proofs,”  “ lettres  grises','  “ prints,”  etc.,  etc.  Besides 
this  nomenclature  being  too  vague  for  the  purposes  of  such  exact 
descriptions  as  those  here  attempted,  it  is  at  best  confused  and 
liable  to  misconstruction  by  reason  of  the  ambiguous  meanings 
attached  to  the  technical  words. 

The  effort  to  avoid  obscurity  and  uncertainty  has  led  to  the 
almost  total  abolition  of  abbreviations.  Many  such  could  have 
been  introduced  with  advantage,  provided  the  volume  were  to  be 
read  succinctly  ; but  abbreviations,  however  clear  to  the  writer,  are 
apt  to  prove  annoying  to  those  who  only  consult  the  volume 
casually.  The  only  contractions,  therefore,  which  have  been  used 
are  such  as  Bvit:  Mus.  for  British  Museum  ; Brera  for  the  Palazzo 
Brer  a,  at  Milan  ; and  F.R.H,  denoting  the  author’s  private 
collection.  These,  and  similar  names  placed  after  the  description 
of  states,  are  intended  as  an  indication  of  where  the  actual  impres- 
sion described  was  found,  and  this  it  was  thought  might  facilitate 
the  detection  and  correction  of  any  oversights  or  errors. 

The  dimensions  are  now  first  given  in  English  inches, 


PREFACE. 


xii 

and  represent  the  measurement  of  the  entire  plate,  not  of  the 
engraved  portion  only,  unless  where  the  contrary  is  specially  men- 
tioned. 

One  subject  more  and  the  author — with  some  reluctance  that 
his  pleasant  occupation,  which  has  extended  over  so  long  a time, 
is  at  last  brought  to  a close — ends  and  publishes  his  book. 
There  have  been  many  chalcographers — some  in  America,  where 
it  is  hoped  there  will  be  many  more.  Such  engravers  as 
Wille,  Longhi,  and  Visscher  have  had  their  works  described 
in  detail,  besides  such  general  works  as  those  of  Bartsch,  Nagler, 
Andresen,  Appell,  Sieurin,  Duplessis,  Dumesnil,  and  in  our 
own  day  Baker’s  Sharp,  and,  best  of  all,  J.  Chaloner  Smith’s 
British  Mezzotinto  Portraits.  There  are  others  too  numerous  to 
mention.  Even  those  enumerated  are,  as  a rule,  so  carelessly  and 
imperfectly  carried  out  that  they  are  of  little  practical  utility  to  the 
collector.  They  bear  no  comparison,  for  instance,  with  Charles 
Blanc’s  masterly  Catalogue  of  Rembrandt.  But  from  this  general 
— and,  it  is  feared,  only  too  just — condemnation,  there  should  be 
some  exceptions  made,  notably  L.  E.  Faucheux’s  Catalogue  Rai- 
sonne  of  Ficquet,  Savart,  and  the  two  Grateloups,  and  above  all, 
Mr.  J.  Chaloner  Smith’s  British  Mezzotinto  Portraits.  The  latter 
is — in  spite  of  its  occasional  errors  and  omissions — so  superior  a 
work  that  it  practically  disarms  criticism  and  betokens  such  patient, 
learned,  and  persevering  research  that  it  is  not  likely  to  be  super- 
seded in  its  department. 

New  York,  June,  1 885. 


F.R.H. 


THE  LIFE  OF 

RAPHAEL  MORGHEN . 


Raphael  Morghen  was  born  at  Portici,  a few  miles  from 
Naples,  on  the  fourteenth  day  of  June,  1761.  A memorial  tablet 
has  been  placed  in  one  of  the  quadrangles  of  the  ex-royal  palace 
of  this  town  to  mark  the  locality  and  the  day  : 

II  14  Giugno  1761 
Qui  nacque 
Raffaello  Morghen 
Principe 

Fra  i Capiscuola 
Della  Italiana  Calcografia. 

Owing  to  a mistake  made  by  Palmerini  in  his  first  edition, 
this  date  has  been  almost  universally  misquoted  as  June  19,  1 758  ; 
but  Palmerini  himself  corrected  this  in  his  third  edition. 

Morghen’s  life  was  most  uneventful,  and  even  when  described 
by  his  friend  and  unqualified  admirer,  Niccolo  Palmerini,  amounts 
to  but  little  more  than  a chronological  list  of  the  plates  he  engraved 
or  assisted  in  engraving. 

* “ What  the  origin  of  the  family  of  this  renowned  professor 
was  is  not  accurately  known.  The  first  ancestor  of  whom  we  have 
any  knowledge  is  his  grandfather,  who  came  from  Montpellier, 

* The  quotations  throughout  this  Life,  unless  where  otherwise  specified,  are  from  ‘ ‘ Opere 
d’lntaglio  di  Raff.  Morghen,  da  Niccolo  Palmerini,  terza  edizione,  con  aggiunte,  Firenze,  1824.” 
The  opinions  of  this  biographer  are  frequently  somewhat  too  unreservedly  laudatory  ; but  they 
are  mostly  given  literally. 

xiii 


XIV 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


France,  and  having  married  a Genoese  lady,  settled  down  in  Flor- 
ence, where  he  started  a lace  business  near  the  Square  of  il  Giglio 
(the  Lily).  In  this  capital  were  born  to  them  Filippo  and  Giovanni 
Elia,  who  both  applied  themselves  to  the  study  of  drawing.  Gio. 
Elia’s  skill  can  be  recognized  from  his  success  in  the  designs  executed 
by  him  for  the  work  on  Herculaneum,  published  at  Naples,  which 
work  also  gives  a criterion  of  the  knowledge  and  taste  of  Filippo 
in  engraving  ; for  his  plates  far  surpass  those  of  all  the  others  who 
contributed  to  the  same  work.  These  two  brothers  having,  excelled 
all  competitors  in  their  art,  moved  to  Naples,  where  Filippo  mar- 
ried the  daughter  of  Francesco  Liani,  the  court  painter  in  the  ser- 
vice of  Charles  III. 

“ Our  Raphael  appeared  as  the  first-fruit  of  this  happy  union,  on 
the  14th  of  June,  1761.*  His  father’s  choice  of  a name  proved 
a wise  one,  for  if,  on  the  one  hand,  the  name  of  Raphael  Sanzio 
is  pronounced  with  veneration  and  praise  whenever  painting  is 
mentioned,  for  having  reached,  in  this  art,  a degree  of  perfec- 
tion which  seems  almost  unattainable  ; on  the  other  hand,  the 
name  of  Raphael  Morghen  excites  respect  and  admiration  in 
every  one  who  delights  in  engraving  and  the  display  of  intel- 
ligence in  carrying  his  art — especially  as  regards  its  mechanical 
skill — to  the  highest  excellence. 

“ He  was  from  boyhood  trained  in  the  study  of  drawing  and  de- 
voted himself  to  it  with  great  assiduity,  influenced  and  directed  by 
both  his  father,  Filippo,  and  his  uncle,  Giovanni  Elia.  At  an  early 
age  he  showed  a marked  talent  for  and  inclination  toward 
landscapes,  and  worked  in  this  branch  so  industriously  in  crayon 
and  etching  that  he  soon  acquired  sufficient  proficiency  to  paint 
sketches  in  water-colors  and  even  in  oils.  He  soon  abandoned 
these  pursuits,  however,  to  devote  himself  exclusively  to  engraving.” 

* His  brother  Guglielmo,  who  assisted  Raphael  in  the  engraving  of  several  plates,  became 
Instructor  in  Engraving  in  the  Royal  Academy  of  Fine  Arts  of  Naples,  in  which  office  he  died  at 
the  beginning  of  this  century. 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


xv 


In  his  eighteenth  year  “ his  fond  father  perceiving  the  real 
genius  of  his  son,  and  mistrusting  his  own  ability  to  provide 
him  with  the  best  advantages  for  his  advancement,  determined  to 
place  him  under  the  instruction  of  Giovanni  Volpato,  who  then  justly 
enjoyed  the  reputation  of  the  most  accomplished  engraver  in  Italy, 
convinced  that  in  so  doing  he  was  acting  in  the  true  interest  of  his 
son’s  progress.” 

In  1778,  therefore,  Raphael  set  out  for  “that  great  capital, 
the  actual  home  and  habitation  of  the  fine  arts  and  also  of  those 
pursuing  their  study.”  On  his  arrival  he  was  welcomed  by  Vol- 
pato with  the  most  kindly  reception,  and  the  latter  was  not  slow  in 
forming  the  highest  estimate  of  his  young  pupil’s  talents.  Mor- 
ghen’s  gentle  and  pleasing  disposition  won  for  him  at  once  the 
warm  personal  friendship  of  his  teacher,  which  remained  unbroken 
till  they  were  separated  by  the  latter’s  death,  which  occurred  in 
1802.  The  portrait  of  Volpato  engraved  in  1800  is  unmistakably 
the  labor  of  love,  tenderly  and  carefully  executed.  In  1781 
the  two  plates  after  Raphael  Sanzio,  Poetry  and  Theology,  were 
engraved  by  Morghen  and  published  by  Volpato,  whose  satis- 
faction not  only  with  his  pupil’s  progress  but  also  with  his 
high  moral  character  was  so  great  that  he  joyfully  gave  him  his 
daughter  Domenica  in  marriage.  In  speaking  of  the  Jurisprudence, 
commenced  in  this  same  year,  his  admiring  pupil  and  biographer 
quaintly  remarks  : “ In  the  very  year  of  his  marriage  he  set  to 
work  on  the  Jurisprudence,  a plate  terminated  with  such  activity, 
zeal,  and  intelligence  that  by  it  he  plainly  manifested  to  his 
contemporaries  how  a man  earnestly  interested  in  his  art  would 
not  be  tempted  to  neglect  its  energetic  pursuit  no  matter  by  how 
happy  a combination  of  circumstances  he  might  be  surrounded.” 
The  plate,  as  soon  as  it  appeared,  was  loudly  praised,  and  it  still  is 
a very  highly  esteemed  and  favorite  engraving. 

In  the  next  year,  1782,  this  was  followed  by  the  Messa  di 


XVI 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


Bolsena,  also  published  by  Volpato.  “No  sooner  did  these 
two  plates  appear,  than  all  experts  and  discriminating  judges 
hastened  to  greet  in  our  Raphael  the  artist  who  had  succeeded 
in  attaining  the  highest  eminence  in  the  engraver’s  art.  It  may  be 
confidently  asserted  that  at  this  stage  he  had  surpassed  the  skill  of 
his  master  ; for  in  accuracy  of  drawing,  conscientious  reproduction 
of  the  original,  and  the  brilliancy  and  grandeur  of  their  execu- 
tion, even  the  seven  Lunettes  by  Volpato  fall  short  of  these 
two  by  Morghen.  But  it  must  not  be  forgotten  that  the  develop- 
ment and  training  of  his  talents  were  entirely  due  to  Volpato,  and 
without  these  he  could  never  have  accomplished  such  a splendid 
pre-eminence  in  his  art,  which,  together  with  all  great  or  small 
gifts,  spring  from  Providence.” 

In  1784  he  entered  into  partnership  with  his  father-in-law,  and 
for  the  next  six  years  he  worked  continuously,  the  number  and  im- 
portance of  the  plates  furnishing  abundant  evidence  of  his  wonderful 
industry  and  untiring  application. 

He  produced  during  this  period  some  of  his  best  work,  such 
as  the  Parnassus,  Diana  and  her  Nymphs,  the  portrait  of  Filangieri, 
St.  John  in  the  Wilderness,  Rubens’  Holy  Family,  Theseus,  the 
Madonna  di  Fries,  Aurora,  his  own  portrait — which  is  properly  only 
a sketch  in  dry-point, — Lot  and  his  Daughters,  the  Repose  in 
Egypt,  the  Seasons,  Angelica  and  Medoro,  and  the  portrait  of 
Lady  Hamilton  as  the  Comic  Muse,  besides  a large  number  of 
vignettes  and  book  illustrations.  In  executing  these  latter  he  yielded 
as  usual  to  the  solicitation  of  his  friends,  and  squandered  the  time 
he  should  have  spent  on  more  important  work.  Of  the  plates  of 
this  period  probably  the  best  known  is  the  Aurora,  and  there  is  no 
work  of  Morghen  more  deservedly  admired.  The  subject  is  pleas- 
ing and  decorative,  and  the  treatment  throughout  is  most  skilfully 
harmonious  and  effective.  In  all  plates  of  this  kind,  however,  the 
lines  are  very  delicately  cut  and  soon  show  signs  of  wear — so  graphi- 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


XVII 


cally  expressed  by  the  French  fatigue.  This  fact  should  never  be 
lost  sight  of  in  estimating  impressions  from  Morghen’s  plates.  All 
such  as  are  interested  should  not  fail,  before  passing  judg- 
ment, to  make  a comparison  between  an  early  and  a late  state  of 
any  of  this  engraver’s  productions,  which  cannot  fail  forcibly  to 
illustrate  what  is  here  meant.  No  more  striking  instance  can  be 
selected,  perhaps,  than  the  Aurora  in  its  first  or  even  second  state, 
when  contrasted  with  a Calcografia  Camerale  impression.  In  the 
latter  there  is  hardly  a line  of  the  original  left,  and — though  the 
effect  is  good  and  it  is  still  valuable  in  a decorative  sense — the  plate 
as  engraved  by  Morghen  has  ceased  to  exist.  In  all  similarly 
retouched  plates  there  is  no  doubt  great  merit ; but  the  original 
engraver  should  not  share  the  praise  or  abuse  to  which  they  are 
liable. 

In  1790,  Morghen  paid  a short  visit  to  his  father  and  his  family 
at  Naples,  and  as  a memento  of  the  occasion  he  engraved  Filippo’s 
portrait,  after  a drawing  made  by  his  brother  Guglielmo.  The  dry- 
point  in  which  this  was  executed  seems  to  have  been  a favorite 
style  of  engraving  with  Raphael ; and  in  the  many  examples  he 
has  left  he  has  probably  given  the  best  evidence  of  his  individual 
and  personal  artistic  talent.  That  is  to  say,  he  worked  from  nature 
or  from  his  own  drawing,  and  appears  separated  from  the  restraints 
of  the  designer,  a personage  to  whom  most  of  his  more  obvious 
faults  are  to  be  traced.  No  engraver’s  plates  have  been  subjected 
to  more  frequent  or  thorough  retouchings  than  Morghen’s.  So 
frequently  is  this  the  case  that  it  is  safe  to  say  he  is  more  exten- 
sively known  to  the  general  public  through  his  retouched  plates 
than  in  any  other  way.  And  no  greater  compliment  could  be  paid 
him,  indiscriminating  buyers  of  prints  having,  as  a rule,  meant  to 
pay  homage  to  his  art  when  they  bought  what  they  thought  was 
his,  and  thus  showed  their  admiration  for  his  skill  even  when  it  ap- 
peared in  its  deteriorated  form. 


xviii  THE  LIFE  OF  RAPHAEL  MORGHEN. 

On  his  return  to  Rome,  he  began  the  large  plate  of  the  Tomb 
of  Pope  Clement  XIII.  When  the  engraving  was  nearly  finished, 
the  monument  was  put  in  its  place  in  St.  Peter’s,  and  it  was  at 
once  evident  that  the  light  and  shade  so  altered  the  effect  that  the 
entire  plate  had  to  be  gone  over  again — a very  tedious  process.  It 
remains  a matter  of  regret  that  so  much  painstaking  application 
was  devoted  to  so  uninteresting  a subject,  and  to  one  which  can 
never  hope  to  secure  any  popular  favor,  in  spite  of  its  strikingly 
skilful  handling  in  many  particulars,  especially  in  the  rendition  of 
the  marbles. 

In  March  of  1792,  the  most  important  and  no  doubt  the  most 
famous  portrait  ever  engraved  by  Morghen  was  begun,  and  it 
was  published  before  the  end  of  the  year  ; though  so  short  a time 
for  its  accomplishment  as  ten  months  seems  almost  incredible  to 
any  one  who  can  appreciate  the  laborious  minuteness  and  brilliancy 
of  the  execution.  “ From  the  date  of  the  Aurora  to  this  period, 
his  [Morghen’s]  productions  are  in  a grand  and  sublime  style,  and 
especially  can  this  be  said  of  the  Aurora,  the  Repose  in  Egypt,  the 
Seasons,  and  the  Horse.  In  all  these,  besides  the  faithful  repro- 
duction of  the  manner  of  the  respective  painters,* — the  first  duty 
of  a skilful  engraver, — there  is  a surprising  cleverness  observable 
in  the  management  of  the  graver,  a fine  delicacy  in  the  treatment  of 
the  fleshes,  an  intelligent  handling  of  the  folds  of  the  draperies,  a 
brilliancy  in  the  metals,  an  infinite  taste  in  the  landscapes  and  at- 
mosphere. Each  hair  on  the  horse  seems  to  be  reproduced  from 
nature  with  a minuteness  and  realistic  effect  never  before  achieved, 
and  which  would  be  practically  impossible  in  painting,  the  truthful- 
ness of  the  engraving  thus  making  amends,  so  to  speak,  for  the 
absence  of  color.” 

The  last  labor  accomplished  at  Rome  was  the  finishing  up  of 
the  Nativity,  in  1792.  In  June  of  this  year  Raphael  was  invited 

* This  sounds  almost  satirical  respecting  the  Repose  in  Egypt  and  the  Seasons  ! 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


xix 


by  the  king  to  move  to  Naples  and  reside  there  with  an  annual 
pension  of  six  hundred  ducats  ; but  on  condition  that  he  should 
only  engrave  such  pictures  in  the  Capo  di  Monte  Gallery  as  the 
directors  might  choose,  the  subject  and  its  treatment  to  be  under 
their  control.  For  each  plate  so  engraved  he  was  to  receive  a 
reasonable  additional  remuneration. 

Fortunately  before  this  offer  was  accepted  another  was 
received  from  the  Grand  Duke  of  Tuscany,  Ferdinando  III.,  Jan- 
uary 9,  1793.  This  was  an  invitation  to  take  up  his  residence  at 
Florence,  where  he  was  assured  an  annual  pension  of  four  hundred 
scudi,  a residence,  rent  free,  in  whatever  part  of  the  city  he  might 
prefer,  and  full  permission  to  engrave  for  his  own  account  what- 
ever pictures  suited  him  best ; the  only  condition  imposed  being 
that  he  should  personally  preside  over  an  open  School  of  Engrav- 
ing. This  proposal  was  cheerfully  accepted,  and  in  May  of  the 
same  year  Raphael  removed  to  Florence,  where,  with  but  few  and 
brief  exceptions,  he  remained  during  the  rest  of  his  life.  He  had 
brought  with  him  the  outline  etchings  of  the  two  plates  of  the 
Madonna  della  Seggiola,  and  he  at  once  set  to  work  on  the  larger 
one,  which  he  soon  finished,  and  dedicated  to  his  patron  the  Mar- 
quis Manfredini,  in  token  of  gratitude  for  that  nobleman’s  impor- 
tant share  in  influencing  his  removal  to  Florence.  It  is  to  be 
deplored  that  Raphael’s  kind-heartedness  and  easy  temper  made 
him  the  victim  of  his  friends  during  the  period  of  his  greatest 
achievements.  He  was  ever  ready  to  engrave  for  them  a card,  a 
vignette,  or  any  other  trifling  plate  out  of  sheer  good-nature  ; thus 
losing  valuable  time  which  should  have  been  bestowed  on  work  of 
a higher  order.  So  great  was  his  assiduity,  however,  that  much 
that  is  good  and  lasting  was  also  accomplished. 

In  1795  he  published  the  beautiful  Madonna  del  Sacco,  and 
then  began  at  once  on  the  Transfiguration  after  a drawing  by 
dell’  Era.  This  he  etched  and  worked  on  with  the  burin  for  nearly 


XX 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


a year,  when  he  decided  to  pay  a visit  to  Rome  and  compare  the 
outline  etching  with  the  original.  He  at  once  perceived  the  weak- 
ness of  the  drawing  he  had  been  using  and  its  unreliability  as  a 
transcript  of  the  original.  Luckily  Volpato,  who  had  intended 
himself  to  engrave  the  same  picture,  possessed  a drawing  made 
meanwhile  by  Tofanelli,  who  had  had  an  excellent  opportunity  to 
study  it  closely  on  the  occasion  of  the  original  being  taken  down 
from  its  position  in  San  Pietro  in  Montorio  to  be  removed  to  Paris. 
This  Volpato  handed  over  to  Morghen,  who  kept  at  work  on  the 
new  plate  for  several  years,  interrupted  frequently  by  trivial  plates 
engraved  for  his  friends  as  well  as  by  several  more  important  ones. 
About  this  time  his  character  became  clouded  with  a gloomy  and 
morbid  distrust  of  any  cheerful  aspect  of  life  or  art,  and  this  mor- 
bidness led  him,  it  is  said,  to  destroy  the  plate  and  all  but  one 
impression  of  Venus  coming  from  the  Bath,  and  shortly  after  all 
the  impressions  he  could  secure  of  Angelica  e Medoro,  on  the 
score  of  their  immodesty. 

In  1800,  after  nearly  three  years’  labor,  the  Last  Supper  was 
published,  and  at  once  assured  to  the  artist  the  position  of  fore- 
most engraver  of  his  time  and  the  author  of  a work  so  preemi- 
nent that  it  may  be  unhesitatingly  called  the  masterpiece  of  his 
art.  Its  only  rival  is  to  be  found  in  his  own  subsequent  plate  of 
the  Transfiguration.  “ All  those  skilled  in  the  art  agree  that  this 
sublime  work  exhibits  a successful  combination  of  qualities  such  that 
the  possession  of  one  alone  of  them  would  have  sufficed  to  render 
immortal  the  name  of  any  worker  in  this  beautiful  and  difficult  art. 
In  short,  if  a Wille  has  made  himself  famous  by  the  glitter  of  his 
metals  and  the  lustre  of  his  draperies  ; a Masson  by  the  delicate 
tracery  of  his  hair  ; if  a Strange  has  become  illustrious  by  his 
taste  in  the  treatment  of  fleshes  ; if,  finally,  an  Edelinck  has  gained 
the  reputation  of  the  most  accomplished  master  in  the  discrimi- 
nating distribution  of  the  lines  and  by  the  general  effect  so  much 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


xxi 


admired  in  his  plates,  what  shall  we  say  of  Raphael  Morghen,  who 
has  managed  to  combine  in  one  plate  all  these  marvellous  preroga- 
tives ? ” 

He  proceeded  with  minor  efforts  during  the  next  eleven  years  ; 
but  working  meanwhile  from  time  to  time  on  the  second  plate  of 
the  Transfiguration.  Among  the  portraits  executed  in  this  interval 
the  more  important  are  those  of  Diodato  Turchi,  Giovanni  Volpato, 
Giorgio  Jonas  Mayer,  Bindo  Altoviti,  Dante,  Petrarca,  Tasso, 
Ariosto,  and  Napoleon.  Of  other  subjects,  the  better  known  are 
the  Madonna  del  Caravaggio,  Murillo’s  Penitent  Magdalen,  La 
Madonna  di  Caracci,  the  head  of  the  Fornarina  (on  silver),  and  the 
Ecce  Homo  of  Leonardo.  These  eleven  years  were  spent  in  his 
usual  devotion  to  his  art.  But  in  1802  his  diligence  was  checked 
by  a severe  attack  of  illness.  He  was,  however,  cured  of  this 
before  the  end  of  the  year  by  the  kind  offices  and  the  skill  of  his 
friend,  Dr.  Attilio  Zuccagni,  whose  portrait  he  engraved  and  pre- 
sented to  him  on  his  recovery. 

At  last,  in  the  year  i8n,the  long-delayed  Transfiguration 
was  published.  Its  appearance  was  hailed  at  once  with  the  accla- 
mations of  the  most  unlimited  encomium,  many  claiming  that  it 
excelled  even  the  Last  Supper.  It  seldom  occurs  that  the  product 
of  a great  talent  receives  such  immediate  and  unstinted  recognition. 
Morghen  was  decorated  by,  and  made  a member  of,  all  the  promi- 
nent artistic  societies,  not  only  of  his  native  land,  but  of  all 
Europe,  and  letters  and  messages  of  congratulation  poured  in  on 
him  from  every  side.  His  gratification  was  complete,  yet  his 
character  remained  unchanged,  and  his  unassuming  modesty  con- 
tinued to  adorn  his  retiring  and  industrious  life  to  the  last.  The 
news  of  his  fame  had  reached  the  ears  of  Napoleon,  and 
Morghen  was  summoned  to  Paris  with  a view  to  having  him 
engrave  some  of  the  pictures  in  which  the  painters  of  the  school 
of  the  French  Empire  were  so  busily  engaged  in  depicting  the 


XXII 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


glories  of  the  great  Emperor.  This  was  the  first  journey  ever 
made  by  Morghen  beyond  the  confines  of  his  native  Italy.  He 
left  Florence  on  the  first  of  March,  1812,  but  found  so  little  delight 
in  the  interruption  of  his  quiet  life  that  he  only  remained  away  a 
few  weeks  and  was  back  again  by  the  second  of  June  of  the  same 
year.  The  picture  which  had  been  chosen  for  reproduction  was 
David’s  Napoleon  crossing  the  St.  Bernard  Pass  with  his  army, 
and  in  the  following  September  Morghen  was  obliged  to  make 
another  trip  to  Paris  to  draw  the  etching  and  study  the  original. 
On  September  9th,  therefore,  he  set  out  for  the  second  time  to 
leave  Italy.  His  stay  on  this  occasion,  though  longer  than  the 
first,  was  still  brief,  as  he  returned  again  to  his  beloved  Florence 
in  April  of  the  next  year,  1813,  bringing  his  scarcely  begun  plate 
with  him.  This  undertaking  seems  never  to  have  aroused  his  in- 
terest, and  on  Napoleon’s  downfall  it  was,  at  the  request  of  the 
French  Government,  forwarded  to  Paris  in  a very  unfinished  state. 
It  has  since  been  completed  by  another  hand,  and  these  impres- 
sions are  now  for  sale  at  the  Chalcographie  du  Louvre. 

No  more  striking  illustration  of  the  even  tenor  of  Morghen’s 
life  can  be  cited  than  this  fact,  that  he  never  made  a journey  out- 
side of  Italy  except  on  the  two  occasions  just  mentioned.  Indeed, 
he  seldom  left  the  three  cities  in  which  he  at  different  periods 
resided,  viz.,  Naples,  Rome,  and  Florence,  for  more  than  a hasty 
excursion  into  their  immediate  vicinity.  And  the  story  of  the 
remaining  twenty  years  of  his  life  is  but  a recital  of  the  plates 
engraved  by  him  or  which  he  directed.  The  more  noticeable  of 
these  are  the  Madonna  del  Cardellino — one  of  the  most  successful 
efforts  to  reproduce  the  sentiment  and  tone  of  the  original — ; the 
portrait  of  the  so-called  Fornarina,  both  from  the  pictures  in 
the  Tribune  of  the  Uffizi  ; La  Madonna  del  Latte  ; the  Three 
Ages  ; II  Morbetto,  unfortunately  left  a slight  sketch  ; and  La  Ma- 
donna del  Granduca.  Several  of  the  larger  portraits  are  also  of 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


xxiii 

this  period,  viz.,  from  1813  to  1823,  such  as  Trivulzio,  Volta,  da 
Vinci,  Madonna  Laura,  Guicciardini,  Lorenzo  de’  Medici,  Goldoni, 
Boccaccio,  and  Dr.  Pittaro ; besides  a considerable  number  of 
heads  in  his  favorite  dry-point. 

In  1827  appeared  the  Poetry  after  Carlo  Dolci,  which  is  even 
now  one  of  the  most  popular  of  Morghen’s  plates,  and  one  which, 
in  spite  of  his  advanced  years — for  he  was  then  sixty-five, — is  care- 
fully and  exquisitely  finished  throughout.  On  the  lower  margin  of 
this  final  important  effort  the  engraver  has  traced  the  following 
touching  farewell  to  his  art  : 

Hie  labor  extremus  validus  compesco  senilem , 

Peccet  ne  posthac  in  mea  damna  manum. 

It  is  said  that  he  added  a few  lines  to  the  small  plate  of  the 
Madonna  della  Seggiola  about  this  time,  but  they  were  unimpor- 
tant, and  the  plate  was  in  reality  the  work  of  his  pupil  Calendi.  In 
1829  he  gave  the  finishing  touches  to  a portrait  of  Michel  Angelo, 
and  began  the  Madonna  di  Sassoferrato. 

Though  sometimes  temporarily  prevented  by  the  advance  of 
old  age,  Morghen  continued  to  watch  over  and  direct  his  school 
and  his  favorite  pupils  till  his  death,  April  8,  1833. 

He  was  married  three  times,  and  his  last  wife,  Aldelia  de’ 
Carlesi,  of  a noble  family  of  Pistoga,  survived  him.  He  was  buried 
in  the  Church  of  Santa  Croce,  Florence,  and  on  his  tomb  was 
placed  the  following  inscription  : 

In  questa  sacra  pace  riposa  Raffaello  di  Filippo  Morghezz  nella 
squisitezza  dell’  intaglio  in  rame  facilmente  principe.  La  ragione 
del  taglioy  la  bonta  del  disegno , l intelligenza  dell'  effetto,  l ' armonia 
generale , e un  fare  prezioso , e una  sua  propria  trasparenza , ama- 
bilita  e soavita  gli  acquistano  il  titolo  di  divino.  La  Transfigura- 
zione , la  Cena,  il  Cavallo,  monumenti  essimj  del  suo  merito,  ai  poster i 
V eccelenza  dell'  italiana  incisione  attesterano.  Artista  europeo  pos - 


XXIV 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


tosi  coll',  altezza  del  suo  genio  nel  rango  de'  piit  sublimi,  di  nuaua 
immense/,  luce  la  patria  deccoro.  Canova  che  in  quanto  all'  arte 
diede  nome  al  suo  secolo,  lo  accetterra  in  questa  gloria  compagno. 

In  1854  this  was  removed,  and  in  its  place  the  present  monu- 
ment, in  the  right  transept  of  Santa  Croce,  was  erected.  This 
tomb  represents  a sarcophagus  on  which  is  the  life-size  recumbent 
figure  of  Raphael  Morghen  beautifully  carved  in  white  Carrara 
marble  by  O.  Fantacchiotti.  Below  is  this  inscription  : 

A Raffaello  Morghen  principe  degl'  incisori  dell'  eta  sua  N a 
Napoli  il  XIX  Giu.  MDCCLVIII*  M.  in  Firenze  gli  VIII 
Apr.  MDCCCXXXIII  i discepoli  e alctmi  ammiratori  compiendo 
un  voto  interrotto  dai  tempi  infelici  per  le  arti  belle  poserno  nel 
MDCCCLIV  Q.  M.  A.  Testimonianza  d' affetto  non  a com- 
mendazione  del  nome  scritto  gici  dalla  storia  fra  i piu  grandi  del 
secolo. 

These  epitaphs  show  the  enthusiastic  esteem  and  affection  in 
which  he  was  held  by  his  countrymen.  One  more  quotation 
should  be  added.  Palmerini,  his  devoted  friend,  admirer,  and 
pupil,  writes  as  follows  in  April  of  1809,  at  Florence.  “ Our  pro- 
fessor’s, Raffaelo  Morghen’s,  character  is  gentle,  very  religious, 
most  charitable,  and  he  has  always  sought  to  avoid  all  that  might 
distract  him  from  his  art.  Notwithstanding  his  retiring  nature  he 
has,  whenever  he  has  been  present,  met  with  the  greatest  consid- 
eration in  all  gatherings  of  artistic  celebrities,  and  has  been  the 
recipient  of  diplomas  from  a number  of  famous  academies,  such  as 
the  Eugenean,  that  of  Napoleon,  the  Italian  of  Science,  Letters, 
and  Art,  and  that  of  Siena ; he  is  a member  of  the  National  Insti- 
tute of  France  and  a Deputy  of  the  Art  Association,  one  of  the 
three  divisions  of  the  Florentine  Academy.  His  character  is  highly 
esteemed  by  all  who  know  him,  and  no  one  can  fail  to  have 
observed  with  what  eagerness  the  productions  of  his  marvellous 

* This  date  should  be  June  14,  1761,  as  before  stated. 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


XXV 


genius  have  been  sought  after  not  alone  in  Italy,  but  throughout 
Europe  and  even  in  America. 

“ By  his  happy  marriage  [with  Domenica  Volpato]  he  has  had 
fourteen  children,  of  whom  only  five  survive,  three  boys  and  two 
girls.*  At  his  present  age  of  fifty- one  [forty-eight]  he  continues 
to  enjoy  excellent  health  together  with  that  tranquillity  of  mind 
which  has  never  forsaken  him  in  spite  of  the  various  disturb- 
ances and  vicissitudes  to  which  all  humun  existence  is  liable. 
His  unfailing  resource  has  ever  been  in  the  pursuit  of  his  studies, 
which  now  as  indeed  from  his  early  youth  have  formed  his  delight ; 
and  so  continually  has  his  time  been  thus  employed  that  he  has 
never,  so  to  speak,  known  what  it  was  to  be  without  occupation. 

“ His  success  both  in  execution  and  in  teaching  has  been  in- 
contestably great.  He  has  known  how  to  treat  different  objects  in 
different  manners,  adapting  to  each  in  turn  the  appropriate  lin- 
ing ; he  has  followed  the  distinctive  characteristics  of  each  painter, 
has  preserved  the  correctness  in  the  drawing,  and  has  given  due 
force  to  the  effects  of  light  and  shade,  a fortunate  combination 
which  is  seldom  met  with  and  which  cannot  fail  to  secure  a lasting 
fame  to  his  works.” 

It  is  only  just  that  to  these  panegyrics  should  be  added  the 
following  more  unbiassed  criticism  and  comment  on  them,  by  a 
great  German  authority,  Dr.  G.  K.  Nagler  : 

“In  such  words  is  Morghen  extolled  both  as  man  and  artist, 
and  from  them  is  learned  how  he  was  judged  by  his  compatriots. 
But  he  did  not  lack  the  most  sincere  praise  in  foreign  lands. 
Though  we  must  allow  to  Volpato  the  merit  of  having  been  the 
first  of  his  countrymen  to  strive  to  produce  an  harmonious  and 
picturesque  effect,  still  we  are  bound  to  accord  to  Morghen  the 
honor  of  having  carried  this  quality  to  a pitch  hitherto  unexcelled. 
His  style  is  soft,  carefully  executed  in  all  parts,  and  brilliant,  but 

* The  younger  of  these  two  died  in  1821. 


XXVI 


THE  LIFE  OF  RAPHAEL  MORGHEN. 


without  the  evidence  of  any  striking  boldness.  In  the  lining  and 
shading  there  is  a quiet  grace  which  imparts  a pleasing  aspect. 
His  efforts  aimed  at  the  still  higher  end  of  reproducing  character 
and  expression,  perfection  of  form  in  general,  and  he  further 
endeavored  by  the  discriminating  application  of  light  and  shade  to 
denote  the  effects  of  local  coloring.  He  penetrated  into  the  spirit 
and  style  of  his  models  and  reproduced  a true  and  faithful  trans- 
cript of  them.  Morghen  is  the  head  of  a new  school,  which  he 
founded,  which  still  continues  in  Italy,  and  the  influence  of  which  is 
distinctly  to  be  traced  in  the  better  class  of  the  productions  of 
foreign  artists.” 


ALPHABETICAL 

CATALOGUE  OF  PLATES . 


I.  Adoration  of  the  Magi , The.  N.  Poussin  pinx 

Dimensions,  i8f  x 13-5^. 

This  and  the  portrait  of  Joan  of  Aragon,  No.  12,  are  the  only 
plates  in  the  Musee  Royal  or  Musee  Frangais  on  which  Raphael 
Morghen  worked.  “The  original,  No.  29  in  the  Dulwich  Gallery, 
is  a repetition,  or  more  probably  an  ancient  copy,  of  No.  423  in  the 
Louvre,  which  latter  is  larger  (5  ft.  \\  in.  high  by  5 ft.  8-|  in.  wide). 
The  original  was  painted  by  Poussin  in  1653  for  M.  de  Mauroy. 
Mrs.  Jameson  states  that  the  picture  in  the  Dulwich  Gallery  is 
probably  the  one  sold  in  Sir  Joshua  Reynolds’s  collection  in  1795.” 
— Louis  Fagan. 

Raphael  Morghen’s  name  does  not  occur  on  this  plate,  and  he 
probably  had  little  to  do  with  its  engraving. 

In  the  left  foreground  St.  Joseph  behind  the  Virgin,  who  holds 
the  nude  figure  of  the  Child  on  her  lap.  Kneeling  before  these  are 
the  three  Magi,  behind  whom,  in  the  right  foreground,  are  five 
of  their  attendants.  A standing  figure  beyond  the  Magi  holds  a 
finger  of  the  right  hand  to  his  lips.  In  the  middle  ground  a temple, 
in  the  course  of  construction,  with  two  pillars,  The  background  a 
landscape,  with  a group  of  attendants,  camels,  and  horses  on  the 
right. 

For  a pleasing  and  exhaustive  treatment  of  the  subject  of  the 


2 


CATALOGUE  OF  PLATES. 


original,  see  Mrs.  Jameson,  “ Legends  of  the  Madonna,”  London, 
1 852,  pp.  227  et  seq. 

I.  Before  all  letters.  Signed  in  pencil : Pussino  dipinse — Antonio  Morghen 

incise  in  Firenze.  Brassey  coll.,  Masked. 

II.  With  the  artists’  names.  In  shaded  script:  Peint  par  N.  Poussin. 

— DessinC  par  Duchemin — Gravd  h Florence  par  Ant.  Morghen. 

F.R.H. 

2.  Aesculapius  and  Hygeia. 

Dimensions,  15^  x 15^. 

Engraved  at  Florence,  i8o5,  after  the  original  ivory  diptych 
then  in  the  possession  of  the  Padre  Felice  Caronni  Barnabita.  It  is 
now  in  the  Fejervary  collection,  in  the  Mayer  Museum,  Liverpool, 
and  is  described  in  detail  by  Pulszky,  “ Fejerv.,”  Iv.,  p.  35,  and  by 
Masked,  “ Ivories,  Ancient  and  Mediaeval,”  pp.  166,  167. 

The  original  plate  used  for  the  engraving  was  of  silver,  and, 
after  a limited  number  of  impressions  had  been  struck  from  it,  was 
presented  to  the  Princess  of  Vintimiglia,  Duchess  of  Alba.  It  is 
now  owned  by  Luigi  Bardi,  Florence. 

Trial  proof.  With  some  shading  in  the  background  ; but  the  figures 
etched  in  outline  only.  Brit:  Mus. 

I.  Before  all  letters.  Brera. 

II.  At  right  lower  corner,  in  shaded  and  engraved  script : Raffaello 

Morghen  inc:  in  Firenze.  Brit:  Mus. 

III.  Under  the  tablet  representing  Hygeia,  in  shaded  script:  Raffaello 

Morghen  inc:  in  Firenze  Under  both  tablets,  in  shaded  uncials: 
ExcM.°  Domn.°  Michaeli—Comiti  a Witzai 

The  three  following  lines  in  shaded  script : Domino  in  Hedervar , 
Losing , Yreg,  &c. — Sac.  Cces.  Majestatis  Cubiculario 

Antiquissimum  ex  ebore  Diptychon — Aviti  in  Hungaria  Musei 
Ornamento 

Ab  ejusdem  Cimeliarcha  Fel.  Caronno — B.  Ltalo  adquisitmn,  ac 
typis  illustratum. 

In  small,  shaded  italic  capitals,  under  the  arms : Raphael  Mor- 
ghen D.D.D.  With  the  arms  dividing  the  inscription.  Brit:  Mus.  • 
F.R.H. 


AGES,  LES  TROIS. 


3 


J.  Ages,  LeS  Tvois  (The  Three  Ages).  Gerard  pinx. 

Dimensions,  24J  x 2of . 

Engraved  at  Florence,  1821,  from  a picture  then  in  the  pos- 
session of  the  royal  family  of  Naples.  The  plate  was  engraved  to 
order  for  Gerard,  the  painter  of  the  original,  but  he  was  never 
satisfied  with  it,  and  soon  sold  it  to  Messrs.  Chaillou,  Potrelle,  & 
Cie-,  Paris. 

Trial  proof.  With  some  work  on  the  figures,  especially  on  the  cloak 
and  hat  of  the  youth.  Brassey  coll.,  Maskell. 
do  The  landscape,  except  the  sky,  uniformly  but  slighty 

engraved.  The  figures  outlined  with  slight  burin 
marks  in  some  parts.  Brit:  Mus. 
do  In  same  state  as  preceding.  This  proof  was  sent  to 

Gerard  for  his  suggestions,  and  by  the  following 
remarks,  written  by  him  on  the  margins  with  pen 
and  ink,  it  is  apparent  that  he  did  not  hesitate  to 
avail  himself  of  the  opportunity.  In  the  top  margin 
he  has  written  : Ces  branches , indicating  by  two  lines 
the  topmost  branches  visible  in  the  two  large  trees 
standing  together,  sont  beaucoup  trop  grosses  pour  leur 
places,  et  elles  doivent  en  outre  paraitre  a peine.  On 
the  left  margin  is  written  : En  ttinoignant  ma  satis- 
faction a Monsieur  le  Chevalier  Morghen  je  lui  ai  deja 
fait  observer,  dans  ma  lettre,  que  les  teies  et  les  nuds 
avoient  perdus  un  peu  de  caractlre  dans  le  trait. 
J' invite  Mr-  le  ChE  Morghen  a vouloir  bien  donner 
quelques  soins  a cette  partie  essentielle.  Cepandant 
comme  les  formes  interieures  sont  peu  artitis,  et  que 
dans  les  ombres  les  contours  ne  sont  en  general 
qu  approcMs,  il  est  difficile  de  juger  quel  parti  une 
main  trls  habile  peut  tirer  de  cette  preparation.  Les 
beaux  ouvrages  de  Mr.  Morghen  doivent  faire  penser 
qu'elle  est  trls  favorable  a la  perfection. 

'*  La  bouche  du  vieillard  remonte  un  peu  du  cotd  de 
l' ombre,  et  la  narine  du  mime  cote  est  un  peu  trop  forte. 

* Le  pouce  de  la  main  droite  de  la  mime  figure  a tie 
supprimd. 

* On  a supprime  aussi  un  pli  de  draperie  sur  le 
derrilre  de  V enfant.  J’approuve  ce  changement. 

Je  reco7nmande  particulilrmetit  le  caractlre  des  tetes, 
comme  plus  important  dans  ce  sujet , peutitre,  que  dans 
toute  autre.  Le  profile  de  la  tite  du  jeune  homme 


4 


CATALOGUE  OF  PLATES. 


paroit  ( autant  qu'on  puisse  en  juger  maintenani) 
manquer  un  peu  de  grandiose  et  de  noblesse.  Celle  de 
la  femme  ne  saurait  fare  assez  belle , tendre  et  modeste, 
et  les  traits  du  vieillard  assez  vdndrables , et  son  expres- 
sion trop  religieuse  et  reconnaissante. 

Les  nuds  (la  tfae  exceptde')  de  la  figure  du  jeune 
homme,  feroient  craindre  un  peu  de  lourdeur , mais 
encore  une  fiois,  ce  ne  sont  ici  que  de  simples  avertisse- 
ments,  la  nature  de  cette  preparation  ne  permettant  pas 
de  rendre  ces  observations  plus  positives.  Brit:  Mus. 
[This  inscription  is  copied  with  the  faults  of  spelling  and  accentuation.] 

I.  Before  all  letters.  The  impression  of  this  state  in  the  British 
Museum  is  signed  in  pencil,  in  lower  right  corner:  Raff.  Morghen 
incise ; underneath,  in  pencil,  in  Morghen’s  handwriting:  Prova 
donata  dell'  Autore  all'  Amico  e mio  Starnpatore  Sigr.  Luigi  Bardi. 
II.  In  shaded,  engraved  script : Peint  par  Francois  Girard — Grave 
par  Raphael  Morghen  Brit:  Mus.,  on  India,  with  black  stamp 
“ P.  L.”  in  lower  right  corner. 

III.  In  shaded  and  engraved  script : Peint  par  Franqois  Gerard — Grave 

par  Raphael  Morghen  In  open,  engraved  uncial  capitals : Les 
TrOIS  AGES.  In  shaded  small  script:  Imprime  par  Chardon. 
— Depose  au  BectP  des  Estampes.  — chez  Chaillou  Potrelle , Mdg 
d' Estampes,  Rue  St.  Honor  I,  Nz  14.2.  Brit:  Mus.;  F.R.H.,  with 
stamp  “PL”  in  lower  right  corner. 

IV.  With  the  arms.  In  shaded  script : Peint  par  Gerard — Grave  par 

Raphael  Morghen 

Quand  l' homme  de  la  vie  entreprend  le  voyage 
La  femme  avec  douceur  guide  ses  premiers  pas  : 

Elle  sait  le  charmer  dans  la  fougue  de  I'age 
Et  le  console  encore  aux  portes  du  trepas. 

In  flourished,  shaded,  uncial  capitals,  between  these  verses  : 
Les  TrOIS  Ages.  In  small,  shaded  script:  Imprime  par  Chardon 
— A Paris , chez  Chaillou  Potrelle , Mdf  d' Estampes,  Rue  S{.  Honore', 
Nz  142. 

V.  Same  as  IV. ; but,  instead  of  Imprime  par  Chardon,  etc.,  is  substi- 
tuted in  minute,  shaded  letters : Imp.  F.  Lamoureux,  rue  de 


ALESSANDRI,  GIOVANNI  DEGLI. 


5 


Laclpede,  38,  Paris.  In  larger  letters  : Ecrit  par  P.  Picquet.  In 
small,  shaded  script:  DIpost  au  Betw  des  Estampes.  Keppel. 

4%  Alba , Portrait  of  the  Duchess  of,  Princess 
of  Vintimiglia. 

Dimensions,  iof  x 7^. 

Engraved  at  Florence,  1822,  for  Bardi  & Co.  A bust,  full 
face,  on  a blank  background. 

Trial  proof.  The  outline  etching.  F.R.H. 

I.  Before  all  letters.  Brit:  Mus.,  on  India  and  plain  ; F.R.H. 

II.  Close  under  the  bust,  in  faintly  traced,  minute  script : R.  Morghen  s. 

Brit:  Mus.,  on  India  and  plain  ; F.R.H. 

III.  R.  Morghen  s.,  as  in  II.;  then,  in  traced  script,  beneath:  La  Rose 

de  Palerme.  Brit:  Mus. 

IV.  R.  Morghen  s.,  as  before.  The  title  of  III.  erased,  and  in  its  stead, 

in  small,  traced  script : Son  Excellence 

Df  Rosaglia  Ventimiglia  e Moncada 
Duchesse  de  Berwick  et  d' Alb e 
&“  &? 

Brit:  Mus.  Florence  1822. 

5%  Alessandri , Giovanni  degli , Director  of  the 

Florentine  Gallery,  and  President  of  the  Florence  Academy 
of  Fine  Arts. 

Dimensions,  Ilf  x 9^. 

A bust,  in  profile,  turned  to  the  left.  Engraved  at  Florence, 
1817,  in  dry-point  on  a blank  background. 

I.  Before  all  letters.  Brit:  Mus. 

II.  In  skeleton  script : A Giovanni  degli  Alessandri 

delle  Liber ali  Arti promotore  illuminato , e magnanimo 

Brit:  Mus. ; F.R.H. 

III.  Same  inscription  as  in  preceding,  but  all  the  letters  shaded  and 

engraved  ; and,  in  addition,  also  in  shaded  and  engraved  letters : 
Raffaello  Morghen  in  attestato  d'  ossequio,  D.D.D.  Brit:  Mus. ; 
F.R.H. ; Grandi. 


6 


CATALOGUE  OF  PLATES. 


6 M*  Alfieri , Count  Vittoiio.  F.  x.  Fabre  pinx. 

Dimensions,  x 6. 

Half  length,  face  looking  to  the  right,  in  an  oval.  Engraved 
at  Florence,  1 793 — from  the  original  now  in  the  Uffizi — for  the 
edition  of  his  Works,  6 vols.,  8vo,  begun  to  be  published  at 
Leghorn,  and  finished  at  Lausanne,  1795. 

Alfieri  was  born  at  Asti,  in  Piedmont,  January  17,  1749,  and 
died  at  Florence,  October  8,  1803.  “Alfieri  etait  dune  taille 
haute  et  noble,  d’une  figure  distinguee,  mais  peu  imposante, 
quoique  son  air  fut  habituellement  dedaigneux  et  hautain  ; son 
front  etait  grand  et  ouvert ; ses  cheveux  epais  et  bien  plantes, 
mais  roux  ; ses  jambes  longues  et  maigres.” — Ginguene,  “ Hist, 
litteraire  de  l’ltalie.”  Alfieri’s  life  is  full  of  interest.  See  his 
“ Autobiography  ” ; Mme.  de  Stael,  in  “ Corinne,  ou  l’ltalie  ” ; 
“ Vita  di  Vittorio  Alfieri,”  by  Centofanti,  Florence,  1842  ; Tiraboschi, 
“ Storia  della  letteratura  italiana,”  Milan,  1822-6. 

Trial  proof.  Lacking  the  pointing  only.  Brit:  Mus.,  in  lower  left 
corner,  in  pen  and  ink,  Dottor  Alfieri. 

I.  Before  all  letters.  Brera. 

II.  In  engraved  script : F:  X:  Fabre  pinxit  Florentice — Raph:  Morghen 
Sculp:  1793.  Brit:  Mus. ; F.R.H. 

III.  Same  as  II.,  with  Vittorio  Alfieri  da  Asti  added,  in  open 
uncial  capitals.  Brit:  Mus. ; Brera. ; F.R.H. 

y.W*  The  Same.  Ditto  pinx.  Raph.  Morghen  direxit. 
From  the  same  original  as  the  preceding,  No.  6. 

Dimensions,  5x4. 

A rectangle  showing  |-  of  the  figure  ; engraved  with  great 
minuteness  : F.  X.  Fabre  dip. — Pietro  Ermini  dis — Giov n°  Contini 
inc.  Raff0,  Morghen  diresse  In  open,  uncial  capitals,  Vittorio 
Alfieri  In  shaded  script,  Presso  Molini  Landi  e C0,.  Brit:  Mus. 

8 M*  The  Same.  Ditto  pinx.  Raph.  Morghen  direxit. 

Dimensions,  14J  x gf. 

Engraved  at  Florence,  1806,  by  Galgano  Cipriani,  under 
Morghen’s  direction,  -§•  face  looking  to  the  left.  •§-  figure  seated 


ALGAROTTI,  ILLUSTRATIONS  TO. 


7 


in  a chair,  the  right  hand  and  arm  resting  on  the  arm  of  the  chair. 
On  the  middle  finger  is  a ring,  with  a head  of  Dante  in  intaglio. 
A cloak  falls  over  the  left  shoulder,  and  is  gathered  up  by  the  left 
hand.  The  poet  is  represented  as  much  older  than  in  No.  7,  ante. 
The  hair  is  particularly  well  executed. 

The  last  two  states  of  this  plate  are  as  follows  : 

I.  In  traced  script : Fc?  Saverio  Fabre  dip:  dal  vero — Galgano  Cipriani 
incise  dalla  pittura — Rajfaello  Morghen  direx  In  large,  plain, 
open,  uncial  capitals : VITTORIO  ALFIERI.  In  minute,  faintly 
printed  italics  : Publicato  in  Firenze  net  1806.  F.R.H. 

II.  Same  as  preceding ; but  with  VITTORIO  ALFIERI  re-engraved 
higher  and  in  smaller,  shaded,  uncial  capitals.  In  addition,  the 
following  dedication,  in  unshaded  script : 

A Sua  Altezza 

La  Sig.  Principessa — Luisa  di  St  other g 
Contessa  d' Albany 

There  is  also  added  : Luigi  Bardi  impresse  and  D.  e D.  Galgano 
Cipriani  With  the  arms.  Keppel. 

This  plate  was  engraved  for  the  Princess  to  whom  it  is  dedi- 
cated, and  between  whom  and  the  poet  there  existed  a most 
romantic  affection.  She  was  the  much-abused  wife  of  that 
unfortunate  Stuart,  the  Chevalier  de  St.  Georges. 

There  is  also  another  plate,  very  beautifully  engraved  by  Can- 
tini,  from  the  same  original,  for  the  edition  of  the  “Tragedie,” 
Firenze,  Ciardetti,  1820,  6 vols.,  large  8vo,  further  illustrated  with 
a plate  for  each  play.  In  shaded,  engraved  script : F.  X.  Fabre 
dip: — Luigi  Scotti  dis: — Giovac0.  Cantini  inc:  R.  Morghen  dires:  In 
shaded,  uncial  capitals : VITTORIO  ALFIERI  In  small,  lightly 
engraved  script,  at  lower  margin  of  plate : In  Firenze  appo: 
Guglielmo  Piatti  Editore  dell' Opere  Postume  F.R.H. 

gM*  Algarotti , Count  Francesco , 12  Illustra- 
tions to  the  Works  of. 

Algarotti  was  born  at  Venice,  December  1 1,  1712,  and  died  at 
Pisa,  May  23,  1764-  He  was  a man  of  most  various  accomplish- 


CATALOGUE  OF  PLATES. 


merits,  and  first  attracted  attention  by  his  attempt  to  popularize 
Isaac  Newton’s  works  in  Italian.  He  succeeded  in  painting  and 
engraving,  and  was  the  friend  of  Frederick  the  Great  and  of  many 
men  of  eminence  of  his  time.  His  portrait,  tomb,  and  the  ten 
other  vignettes  described  below  were  engraved  at  Rome,  1790, 
for  the  edition  of  his  works  published  by  Palese,  at  Venice, 
1 79 1-4,  under  the  direction  of  Dr.  Aglietti,  17  vols.,  small  8vo. 
There  are  a number  of  head-pieces  and  tail-pieces  in  these  volumes, 
some  designed  by  Algarotti  himself,  and  engraved  (or  etched)  by 
Novelli  and  Bianconi. 

1.  The  Portrait.  \ length  ; face  turned  to  the  left ; wearing 
a wig  and  a velvet  coat  trimmed  with  fur. 

I.  Before  all  letters.  The  outline  of  the  tablet  beneath  is  etched, 
but  without  any  shading.  The  line  around  the  rectangle  is  only 
traced,  not  shaded.  Some  marks  of  the  graver  in  the  margin, 
especially  on  the  right.  Brera. 

II.  In  shaded,  uncial  capitals  on  the  tablet:  FRANCISCUS  ALGAROTTUS 
Close  under  the  tablet,  in  shaded  script : Liotard pinxit — Mingardi 
del. — Raph.  M or ghen  sculp.  To  face  title-page,  vol.  I.  Brit:  Mus. ; 
Brera;  F.R.H. 

Dimensions,  7^  x 5§ . 

2.  The  arms  of  Frederick  II,  of  Prussia,  viz.  : a single-headed 
eagle  with  the  monogram  “ FR  ” on  its  breast,  surmounted  by  a 
crown.  The  escutcheon  is  supported  by  a female  figure  in  armor 
on  the  left,  and  by  a companion  male  figure  on  the  right.  Below, 
in  shaded  script : Mingardi  delin. — Raph.  Morghen  sculp.  Head- 
piece  to  dedication,  vol.  I.  Brit:  Mus.  ; Brera  ; F.R.H. 

The  dimensions  of  this,  and  the  10  vignettes  following,  are  3|  x if. 

j.  Profile  medallion  head  of  Algarotti. 

In  shaded  Greek  characters  : AATAPPITTOS  In  shaded 
script  : Mingardi  delin. — Raph.  Morghen  sculp.  Head-piece  to 
p.  I,  vol.  I.  Brit:  Mus. ; Brera  ; F.R.H. 

4.  The  Tomb  in  the  Campo  Santo,  Pisa , erected  by  Frederick 
the  Great. 


ALGAROTTI,  ILLUSTRATIONS  TO. 


9 


In  shaded  capitals  on  a tablet  over  the  niche : 

ALGAROTTO  OVIDII  AEMVLO 
NEW  TONI  DISCIPVLO 
FRIDERICVS  MAGNVS 

On  a tablet  under  the  medallion  profile  at  the  top  of  the  niche, 
in  minute,  shaded  capitals: 

ALGAROTTVS 
NON  OMNI S * 

On  the  tablet  under  the  sarcophagus,  in  minute,  shaded 
capitals:  ANNO  DOMINI  MDCCLXIIII 

On  the  large  tablet  below,  in  large,  shaded,  uncial  capitals  : 

PI  SIS  IN  CCEME  TERIO. 

In  small  italics,  close  to  margin  of  lower  tablet:  C.  Bianconi 
del. — Raph.  Morghen  s.  To  face  p.  cxxxv.,  vol.  I.  Brit:  Mus.  ; 
Brera;  F.R.H. 

5.  A vase  with  a relief  representing  a funeral  procession. 
Algarottus  invenit — Raph.  Morghen  sculp.;  p.  196,  vol.  I.; 

and  is  repeated,  p.  144,  vol.  VIII.  Brit:  Mus. ; Brera  ; F.R.H. 

6.  Portrait-head  of  Isaac  Newton  in  a circular  medallion. 
Around  the  head  : Isaacus  Newtonus.  Around  the  outside  of 
the  medallion,  in  shaded  script : Mingardi  delin. — Raph.  Mor- 
ghen sculp.  Head-piece  to  p.  11,  vol.  II.  Brit:  Mus.;  Brera; 

F.R.H. 

7.  A male  figure  seated ; on  his  left,  an  erect  female  figure 
drawing  on  a wall  the  outline  of  the  seated  figure.  A lighted 
lamp  hangs  from  the  ceiling,  so  as  to  throw  the  silhouette  of 
the  man  on  the  wall.  On  his  right,  leaning  against  a table,  is 
a cupid.  Mingardi  delin — Raph.  Morghen  scul.  Head-piece  to 
p.  59,  vol.  III.  Brit:  Mus. ; Brera;  F.R.H. 

8.  A musical  trophy. 

Mingardi  delin — Raph.  Morghen  scul.  Head-piece  to  p.  313, 
vol.  III.  Brit:  Mus.  ; Brera  ; F.R.H. 


Referring  to  the  Non  omnis  moriar,  Horace’s  Odes,  Book  III.,  Ode  30. 


IO 


CA  TALOGUE  OF  PLA  TES. 


p.  Head  and  bust  of  Peter  the  Great  in  a circular  medallion. 
On  the  left  is  a winged  figure  flying,  and  holding  a lighted  torch 
in  her  right  hand.  On  the  right  is  a semi-recumbent  female 
figure,  above  whom  a bird  soars.  Around  the  head  : Petr  vs 
Magnvs  Underneath  : Mingardi  delin*. — Raph.  Morghen  sculp* 
Page  19,  vol.  VI.  Brit:  Mus. ; Brera  ; F.R.H. 

10.  A trophy  of  the  symbols  of  architecture,  music , and  painting 
hung  on  garlands  of  flowers. 

Mingardi  delin. — Raph.  Morghen  sculp.  Page  3,  vol.  VII., 
and  repeated  page  287,  vol.  XII.  Brit:  Mus. ; Brera  ; F.R.H. 

11.  Two  horns  tied  together  with  a long  ribbon,  and  with  a 
garland  of  flowers  hanging  from  each  end. 

Mingardi  del.  — Raph.  Morghen  sculp.  Page  3,  vol.  XI. 
Brit:  Mus. ; Brera  ; F.R.H. 

12.  Three  medallions  overlapping  each  other,  and  each  show- 
ing a profile  head.  Around  the  head  in  the  left  medallion  : 
M.L.Crassvs  ; around  the  centre  medallion:  Ivl.  Cesar.; 
around  the  medallion  on  the  right : C.M.Pompejvs.  Under- 
neath : Mingardi  delin. — Raph.  Morghen  sculp.  Page  149,  vol. 
XVII.  Brit:  Mus. ; Brera  ; F.R.H. 

The  British  Museum  and  Brera  have  complete  series  of  these 
vignettes  struck  off  without  the  text.  The  F.R.H.  impressions  are 
with  the  text. 

loM'  Altoviti,  Bindo.  Raff.  Sanzio  pinx. 

Dimensions,  12  x 8f. 

Engraved  at  Florence,  1803,  from  the  original,  then  in  the 
Altoviti  Palace  in  that  city.  Ludwig  I.,  then  King  of  Bavaria, 
bought  this  original  in  1808  for  the  sum  of  ^6,400.  He  removed 
it  to  Munich,  where  it  now  hangs  in  the  Old  Pinakothek.  This 
sovereign  ordered  of  the  painter  Pietro  Benvenuti,  Professor  in 
the  Imperial  and  Royal  Academy  of  Florence,  an  oil  portrait  of 
Morghen,  which  he  hung  in  the  same  gallery  as  the  above,  naming 
the  two  respectively  the  “ Raphael  of  Painting  ” and  the  “ Raphael 
of  Engraving-.” 

o o 


ALTOVITI,  BINDO. 


ii 

The  original  is  now  generally  conceded  to  be  the  portrait  of 
Raffaelle  d’  Urbino’s  friend  and  patron,  Bindo  Altoviti,  a wealthy 
banker  then  living  in  Rome ; as  such,  it  was  preserved  for  over  two 
centuries  by  the  Altoviti  family.  The  confusion  in  regard  to  the 
identity  arose  about  the  middle  of  the  eighteenth  century,  through 
Bottari’s  misconstruction  of  this  passage  in  Vasari  : A Bindo 
Altoviti  fece  il  ritratto  suo,  quando  era  giovine , che  e tenuto 
stupendissimo.  It  seems  straining  the  meaning  to  make  this 
mean  anything  but  that  it  was  Altoviti’s  portrait,  and  not  his 
own — suo  proprio.  Melchior  Missirini,  who  has  carefully  compared 
this  picture  with  several  other  portraits  of  the  painter,  especially 
those  in  Raphael’s  own  pictures — e.  g.,  in  the  “ School  of  Athens,” 
— states  that  it  is  certainly  not  Raphael’s  own  portrait.  Such 
authorities  as  Hermann  Grimm  and  Baron  Rumohr,  however,  still 
maintain  the  contrary.  At  all  events,  it  was  engraved  by  Morghen 
as  Raphael’s  portrait,  and  was  purchased  as  such  by  the  king 
of  Bavaria. 

One  of  Benvenuto’s  great  works  is  a bronze  bust  of  Bindo 
Altoviti. 

Morghen  engraved  the  head  and  hand  only  ; the  rest  is  the 
work  of  his  friend  and  biographer,  Palmerini  ; but  the  whole  plate 
was  executed  under  the  former’s  supervision  and  direction,  and 
was  finally  gone  over  by  him. 

The  original  plate  is  now  in  the  possession  of  Luigi  Bardi, 
Florence. 

Trial  proof.  The  outline  etching,  with  the  background  and  a por- 
tion of  the  drapery  partly  engraved.  Brit:  Mus.  ; 
Brera  ; F.R.H. 

do  Finished  except  the  drapery  on  the  back,  which  lacks 

a few  cross-lines  only,  and  the  hand  which  is  still  in 
outline.  Brit:  Mus.  ; Brera. 

I.  Before  all  letters.  Brera;  Brassey  coll.,  Maskell ; Sotheby,  1870, 
£17  10s. 

This  state,  in  which  the  plate  appears  in  its  perfection,  is  very 
rare. 

II.  With  the  arms.  In  small,  shaded  script : Raffaelle  Sanzio  se  stesso 
dipinse — Raffaelle  Morghen  inc:  in  Firenze  F.R.H. 


12 


CATALOGUE  OF  PLATES. 


III.  Same  as  II.,  with  the  addition,  in  traced  script  (the  first  line  in 

larger  characters  than  the  second):  All'  Ornatissimo  Sig.  Cav. — 
Gio  Batista  Baldelli  Niccolb  Palmerini  quest  a opera  del  bene 
merito  suo — Mcestro  in  attestato  di  vera  stima  dedica , e consacra. 
Brit:  Mus. 

A counterproof  of  this  state.  Brit:  Mus. 

IV.  The  arms  and  artists’  names  as  above,  but  engraved  and  shaded. 

The  dedication  is  changed  to  engraved  and  shaded  script,  and  is 
as  follows  : All'  Ornatissimo  Signore — Gio.  Batista  Baldelli  de' 

Conti  di  Peciano,  Cav:  dell'  Insigne — Ordine  di  S.  Stefano  P.  M. 
Maggiore  al  Servizio  di  S.  M.  1.  R.  A — delle  Belle  Arti 
Amantissimo.  Niccolb  Palmerini  questa  opera  del  benemerito  suo 
— Mcestro  in  attestato  di  vera  stima  dedica,  e consacra  In  print 
characters : L' Originate  se  conserva  in  Casa  Altoviti  di  Firenze. 
Brit:  Mus. 

This  is  the  present  condition  of  the  plate. 


1 1 M*  Angelica  and  Medoro.  T.  Matteini  pinx. 

Dimensions,  iq|  x 15^. 

Engraved  at  Rome,  1788.  Dr.  G.  K.  Nagler,  vol.  IX.,  p.  471, 
makes  this  statement : “ Die  Griinde  warum  er  [Morghen]  . . . 
so  viel  Abdriicke  als  er  von  Angelika  und  Medoro  wieder  haben 
konnte,  verbrannte,  sind  keine  andern  als  Gewissenszweifel ; denn 
es  hatte  sich  eine  Bangigkeit  seines  Gemuthes  bemachtigt,  so  sehr, 
dass  er  alle  heiteren  Gegenstande  der  Kunst  von  sich  wies,  und 
jedem  frohen  Lebensgenusse  als  siindhaft  misstraute.”  There  are, 
however,  so  many  impressions  known  of  this  plate,  that  Nagler’s 
story  is  unlikely ; it  is  much  more  probable  of  the  Venus  Coming 
from  the  Bath.  The  plate  of  Angelica  and  Medoro  was  sold  by 
Mr.  Day  to  Niccolo  Pagni  & Co.  There  is  probably  no  finer 
example  in  engraving  of  the  treatment  of  flesh  and  nude  figures  ; 
and  in  these  respects,  Morghen  is  seen  at  his  best  in  the  early 
impressions  of  this  plate.  It  has  been  copied,  with  some  success, 
by  Morghen’s  pupil,  Giovanni  Folo. 

The  scene  is  from  Ariosto’s  “ Orlando  Furioso,”  canto  XIX., 


ARAGON , QUEEN  OF. 


13 


stanza  36,  where  the  poet  has  made  the  idyllic  loves  of  these  two 
characters  world-famous. 

Trial  proof.  Before  the  rectangle.  The  figure  of  Medoro,  and  the 
sky,  blank  ; the  rest  of  the  plate  partially  engraved 
throughout.  Brera. 

I.  Before  all  letters  and  before  the  rectangle ; otherwise  finished. 
Brit:  Mus.  Of  the  greatest  rarity. 

II.  With  the  shaded  rectangle,  and  in  shaded  and  engraved  script: 
Theodorus  Matteini  invenit  — Raphael  Morghen  sculp.  Romae 
Brera;  F.R.H. 

III.  The  artists’  names  as  in  II. ; and,  in  fancifully  shaded,  uncial  capitals, 

without  flourishes: 

Angelica  e Medoro  in  varj  modi 
Lega  ti  insieme  di  diversi  nodi 

Brit:  Mus.;  Brera. 

IV.  The  artists’  names  as  in  II.  The  two  verses  re-engraved  in  plainer, 

shaded,  uncial  capitals,  with  flourishes.  In  addition,  in  smaller 
letters:  Or lan.  Fur.  Cant.  XIX.  Stan,  j 6 In  shaded  script: 
To  his  Royal  Highness  Prince  Frederic  Augustus  This  Plate  is 
humbly  Inscribed,  by  His  Royal  Highness's  much  obliged  and  most 
devoted  Servant  Rome  1795 — Alexr.  Day.  Brera. 


12M • Aragon , Joanna , Queen  of.  Raffaello 
Sanzio  pinx. 

Dimensions,  I3f  x ig£. 

Engraved  at  Rome,  1821,  for  the  sumptuous  Musee  Frangais. 
The  etching  was  made  by  Angelo  Emilio  Lapi.  The  plate  was 
then  handed  over  to  Giovanni  Rivera,  who  engraved  the  rest  of  it, 
except  the  head  and  hands,  which  were  executed  by  Morghen, 
who,  besides,  went  over  the  entire  plate,  giving  it  its  harmony  and 
finish.  The  original  drawing,  by  Bouillon,  is  in  the  possession  of 
the  author.  It  adds  an  interest  to  this  plate  to  know  that  Raffaello 
himself  only  painted  the  hands  and  head  of  the  original,  i.  e.,  those 
parts  engraved  by  Morghen.  The  rest  was  painted  by  his  apt 


14 


CATALOGUE  OF  PLATES. 


pupil,  Giuglio  Romano,  though  Raffaello  went  over  the  whole 
finally,  as  did  Morghen. 

The  picture  in  the  Louvre  is  the  original  of  many  school 
repetitions.  That  in  the  Doria  Gallery,  Rome,  is  by  a scholar  of 
Lionardo  da  Vinci  after  Raffaelle’s  picture.  Passavant,  II.,  236, 
and  III.,  144. 

Joanna  of  Aragon  was  the  daughter  of  Ferdinand  of  Aragon, 
Duke  of  Montaldo,  third  and  natural  son  of  Ferdinand  I.,  King  of 
Naples,  who  was  better  known  by  his  final  title  of  Ferdinand  the 
Catholic,  of  Spain.  She  married  Ascanio  Colon na,  Constable  of 
Naples  and  Prince  of  Tagliacozzo,  and  was  the  mother  of  Marc- 
Antonio  Colonna,  the  hero  of  Lepanto  (October  7,  i57i).  Vasari 
is  mistaken  in  calling  her  Vice-Queen  of  Naples.  Her  accomplish- 
ments and  her  beauty  made  her  one  of  the  most  remarkable 
women  of  the  sixteenth  century.  Three  hundred  poets  are  said 
to  have  celebrated  her  spotless  fame. 

The  same  original  has  been  engraved  by  Lefevre,  but  the 
plate  is  badly  executed. 

Trial  proof.  Unfinished  throughout.  The  fleshes  etched  in  outline 
only  ; the  sky  in  background  blank.  Brit:  Mus. 
do  The  fleshes — except  some  work  on  the  eyes,  lips,  and 

hair,  some  of  the  jewels  and  white  parts  of  the 
drapery — still  etched  in  outline  only.  Brit:  Mus. 

This  was  probably  the  condition  of  the  plate  when 
Morghen  took  it  in  hand. 

I.  Before  all  letters.  Brit:  Mus.  Sotheby’s,  1856,  ,£16  iar. 

II.  With  the  artists’  names.  Grandi. 

III.  In  shaded  script : Peint  par  Raphael — Dessint  par  Bouillon — Gravd 

par  Raph:  Morghen.  In  shaded  uncial  capitals : PORTRAIT  DE 
Jeanne  D'Arragon.  Brit:  Mus.;  F.R.H. 

IV.  The  re-touched  plate.  Same  lettering  as  III.,  but  with  the  addition 

of : Ecole  Italienne 

25 

Danlos  A ine  Miteur — Char  don  aind  imp.  Keppel. 

The  plate  is  now  in  the  possession  of  Messrs.  Danlos  & Delisle, 
Paris. 


ARIOSTO , LUDOVICO. 


15 


I jM'  Ariosto , Ludovico.  Pietro  Ermini  dis. 

Dimensions,  13  x 9^. 

Engraved  at  Florence,  1807,  for  the  edition  of  “ Orlando 
Furioso,”  della  Tipografia  della  Societa  Letteraria,  Pisa,  1809,  5 
vols.,  folio.  It  is  uniform  with  the  portraits  of  the  other  “ Fathers 
of  the  Language,”  Dante,  Petrarch,  Boccaccio,  and  Tasso. 

Ariosto  was  born  at  Reggio,  in  the  Duchy  of  Modena,  Sep- 
tember 8,  1474  ; he  died  June  6,  1533.  “ II  avait  une  belle  figure, 

les  traits  reguliers,  le  teint  vif  et  anime,  Fair  ouvert,  bon  et  spirituel. 
Sa  taille  etait  haute  et  bien  prise,  son  temperament  robuste  et 
sain.  . . . Sa  conversation  etait  agreable,  piquante,  et  respirait 
la  franchise  et  l’urbanite  autant  que  l’esprit.  Ses  bons  mots  etaient 
pleins  de  sel ; sa  maniere  de  raconter  etait  originale  et  plaisante  ; 
et  ce  qui  manque  rarement  son  effet,  quand  il  faisait  rire  tout  le 
monde,  il  etait  lui-meme  fort  serieux.”— C.  P.  Ginguene,  “ Hist, 
lit.  de  l’ltalie.”  The  story  of  his  life  is  most  interesting.  His 
character  was  admirable,  and  his  talents  extraordinary.  See  Maz- 
zuchelli,  “ Scrittori  d’ltalia”  ; Baruffaldi,  Jr.,  “ La  Vita  di  M.  Ludo- 
vico Ariosto  ” ; also,  Valery,  “ Due  seccoli  della  letteratura  italiana  ” ; 
Tiraboschi,  “ Storia  della  letteratura  italiana,”  Milan,  1822-6. 

Trial  proof.  The  outline  etching  ; the  background  and  the  drapery 
on  the  back  of  the  figure  partly  engraved.  Brit: 
Mus.,  2 impressions  ; Brera  ; F.R.H. 
do  The  background  and  drapery  partly  engraved.  The 

head,  with  the  wreath,  the  hand  and  the  sheet  of 
paper  still  in  outline  only.  Brit:  Mus. 
do  Much  further  advanced,  but  still  unfinished  through- 

out. Brit:  Mus. 

I.  Before  all  letters.  F.R.H. 

II.  In  small,  shaded  script : 

Pietro  Ermini  disegnb — Raffaello  Morghen  incise 
Brit:  Mus.,  plain  and  on  India;  Brera;  F.R.H. 

III.  Same  as  II.,  with  the  addition  of  Lodovico  Ariosto  in  open, 

traced,  uncial  capitals.  Brit:  Mus.;  Brera;  F.R.H. 

IV.  Same  as  III.;  but  with  the  addition  of  Luigi  Bardi  impresse  in 

shaded  script,  in  the  middle  of  the  lower  margin.  Keppel. 

V.  Same  lettering  as  IV. ; but  all  the  letters  shaded.  Brit:  Mus. 


1 6 


CATALOGUE  OF  PLATES. 


I/J.%  Augustus  Ccesar,  Head  of  . From  an  antique 

marble.  Bonaventura  Salesa  del. 

Dimensions,  gj  x 6f . 

A head  nearly  full  face,  turned  slightly  to  the  left,  in  a 
rectangle.  Engraved  at  Rome,  1789,  for  Cardinal  Despuig,  in 
whose  possession  the  bust  then  was.  The  original  marble  found 
at  Palma,  in  the  island  of  Majorca,  later  passed  into  the  possession 
of  the  Count  di  Montenegro. 

I.  On  the  marble  slab,  underneath  the  head,  in  large,  shaded,  uncial 
capitals:  AVGVSTVS  In  smaller,  shaded  script : 

Ex  Marmore  antiquo  eoque  Pario  eximii  operis 
In  Museo  Antonii  Despuigii 

Under  the  rectangle,  in  small,  shaded  script:  Bonava  Salesa 
deling  — Rapid.  Morghen  sculp { Romae.  Below  is  an  engraved 
scale  of  measurement,  above  which,  in  small,  shaded  script : 
Romani  pedis  uncice.  Brit:  Mus. ; Brera. 

II.  This  plate  was  subsequently  used  surrounded  by  an  ornamental 
frame-work,  the  latter  engraved  on  a separate  plate.  On  a scroll 
at  the  top  of  the  frame  is,  in  slightly  shaded  capitals : 

ICONOGRA PHIE  COMPLETE  DE  CESAR  A VGVSTE. 

In  the  added  framework  are  eight  portrait  heads  of  Caesar 
engraved  in  outline,  after  marbles,  seals,  medallions,  and  cameos. 
In  skeleton  print  characters,  on  a tablet  in  the  lower  side  of  the 
frame : 

Les  Savans  et  les  Amateurs  de  la  Gravure  accueilleront 
sans  doute  avec  empressement  une  planche  in^dite  et 
posthume  du  cdl'ebre  Raphael  Morghen.  Cette  belle  tete 
d’A  UGUSTE,jeune , manquait  d ! ICONOGRAPHIE  de 
cet  Empereur , publide  par  Visconti  et  Mongez.  On  a 
done  cru  bien  faire  de  rennir  les  divers  documens 
recueillis  par  ces  deux  Savans,  en  les  reproduisant 
dans  V encadrement  ajoutd  a V oeuvre  de  Morghen. 

Le  buste  original  fait  aujourd'  hui  partie  du  Musde 
de  M.  le  Comte  de  MONTENEGRO,  a Palma  (ile  mallorca) 


AUGUSTUS,  CONSTANTIUS. 


17 


In  lower  right  corner,  outside  the  frame,  in  shaded  script: 

A Monsieur  le  Comte  de  Montenegro  y Monloro, 
comme  un  faible  timoignage  de  souvenir  de  respect  et  d' affection. 

In  print  characters  : J.  Tastu  In  minute,  shaded  script : 
Employ / a la  Bibliotheque  Se  Geneviive.  In  minute  script,  at 
left  lower  corner  : Clerget  et  Reveil  del.  et  sc.  F.R.H. 

There  are  brilliant  impressions  of  the  Morghen  plate  in  this 
state. 

15%  A ugustus,  Constantins. 

Engraved  for  “ Della  Moneta  libri  cinque  di  Ferdinando  Gal- 
liani,”  Napoli,  1780,  4to. 

No  impression  of  this  plate  is  known. 


16.  Aurora  with  Apollo  and  the  Honrs.  Some- 
times called  “ The  Chariot  of  Apollo.”  Guido  Reni  pinx. 

Dimensions,  36  x 20J-. 

Engraved  at  Rome,  1788,  after  the  original  fresco  on  the 
ceiling  of  the  Casino  in  the  garden  of  the  Rospigliosi  Palace, 
Rome.  See  “ Platner  and  Bunsen,”  III.,  ii.,  p.  400. 

The  subject  is  too  well  known  to  need  a description. 

Trial  proof.  The  sky  and  most  of  the  clouds  blank,  except  in  upper 
right  corner,  where  they  have  some  lines  of  shading, 
but  are  not  finished.  The  figures  are  scarcely  more 
than  outlined.  Without  the  frame.  Brit:  Mus. 
do  Part  of  the  plate  only  printed,  i.  e.,  the  figure  flying 

before  the  horses,  the  boy,  above  them,  with  a torch, 
and  the  horses’  heads  and  fore-feet.  The  flying 
figure,  the  sky  behind  her,  and  that  part  of  the 
horses  which  is  visible,  are  finished.  Brit:  Mus. 
Dimensions  of  the  engraved  portion  of  the  plate, 
14  x 16. 

I.  Before  all  letters.  Sotheby  & Wilkinson’s,  June  12,  1862. 

II.  In  shaded  and  engraved  script:  Guidus  Rheni  pinx.  — Antonius 
Cavalucci  delin. — Raphael  Morghen  sculp  Romae.  The  sails  have 
faint  perpendicular  lines  on  them.  Rigal  sale,  1816,^19  16s. ; 


i8 


CATALOGUE  OF  PLATES. 


Palmer  sale,  London,  1868,  £6S;  Sotheby’s  sale,  1874,  £7$; 
Frankfort,  1880,  £67. 

III.  The  Poggiali  catalogue  mentions  an  open  letter  proof,  with  a 

counterproof  of  the  same  state. 

This  state  is  unknown  to  the  author. 

IV.  Before  the  In  ZEdibus,  and  with  the  same  perpendicular  lines  on 

the  sails.  The  artists’  names  as  in  II.  In  addition,  in  shaded, 
uncial  capitals : 

Quadrijugis  invectus  Equis  Sol  aureus  exit 

Cui  SEPTEM  VARIIS  CIRCUMSTANT  VEST/E  US  HORAE 

Lucifer  antevolat.  Rapidi  fuge  Lamp  ad  a Solis 
Aurora  umbra  rum  victrix  ne  victa  recedas 
In  very  large,  shaded  script : Josepho  Rospigliosio  S.  R.  I.  Prin- 
cipi , Zagaroli  Duci  &c.  &c.  In  smaller,  shaded,  and  slanted 
letters  : Joan.  Volpato,  et  Raph.  Morghen  D.D.D. 

There  were  about  100  impressions  of  this  state  printed,  and 
the  paper  shows  the  wire-marks.  Brit:  Mus. ; F.R.H. ; Sotheby, 

1875,  £lo. 

V.  The  sails  still  the  same  as  in  IV.,  and  the  lettering  still  the 
same  ; except  that  there  is  added  in  lower  left  corner:  In  Aedibus 
Rospigliosiis.  Brit:  Mus.;  Brera ; Sotheby’s,  1875,  £1$  5-y.  ; 
Ditto,  £7  15s. 

VI.  Same  lettering  as  in  V.,  but  the  sails  show  cross-hatchings.  The 
plate  was  re-touched  in  the  Volpato  school  for  this  state,  and  the 
re-touching  was  executed  without  reference  to  the  manner  of  the 
original.  The  result  is  unfortunate.  Keppel. 

VII.  Calcografia  Camerale  impressions.  The  lettering  as  in  V.,  but  with- 
out the  dedication  : “ Josepho  Rospigliosio  S.  R.  I.  Principi,  Zagaroli 
Duci  &c.,  &c.”  There  is  added  in  right  lower  corner:  Roma 
presso  la  Calcografia  Camerale.  In  this  state  the  plate  is  practi- 
cally re-engraved,  and  there  is  no  attempt  at  deception.  The 
result  is  an  effective  print,  but  there  is  no  resemblance  to  the 
original.  Keppel,  on  India. 

The  plate  is  now  owned  by  the  Calcografia  Camerale,  in  Rome. 


BACCHANALS , TWO  INFANT. 


19 


iy.%  Austria , Archduke  Ferdinand  of,  Eldest 

Son  of  Francis  II.,  Emperor  of  Austria.  G.  A.  Santarelli  dis. 

Dimensions  n-J-  x 8|-. 

Engraved  at  Florence,  1804,  for  Count  Luigi  Moncenigo,  from 
a relief  model  in  wax.  This  is  one  of  the  few  plates  touched  by  no 
other  hand  than  Morghen’s.  Unfortunately  it  is  from  a manifestly 
weak  original.  The  Prince  is  represented  as  a boy  of  about  ten 
years,  half  length,  in  profile,  to  the  left,  in  an  upright  oval,  sur- 
rounded by  a shaded  rectangle. 

There  is  no  state  of  this  plate  known  before  the  inscription  as 
given  below,  and  which  was  probably  engraved  as  soon  as,  or 
before,  the  plate  itself  was  fully  finished.  Impressions  occur  in 
which  the  inscription  has  been  altered  by  hand. 

The  original  was  the  son  of  Maria  Theresa  and  Francis  II., 
first  emperor  of  Austria.  Fie  succeeded  to  the  throne  on  the 
death  of  his  father,  March  2,  1835. 

At  lower  right  corner  of  rectangle,  in  traced  script : Raph. 
Morghen  sculp:  Florentiae  The  rest  of  the  inscription,  as  given 
below,  is  in  uniform,  shaded,  uncial  capitals  of  the  same  size 
throughout : 

IMP.  CAES.  FRANCISCO.  II.  ET  M.  THERE  SI AE.  AVGG. 
OPTIMIS.  FELICI S SIM  IS  Q.  PARENTIBVS 
EFFIGIEM 

REGIE  PRINCIPIS.  ARCHIE)  VCIS.  FERDINA ND1.  A VSTRII 
REGNO RR.  HVNGAR.  ET  BOJOHOEM.  HAEREDIS 
NA  TI.  IN.  SPEM.  IMPERII 

AN.  AET.  S.X.  A MORGHENIO  FLORENTIAE  AERE  CAELATAM 
COMES  . ALOYSIVS.  MOCENICUS.  SEB.  F. 

D.D. 

VINDABONAE.  ANNO.  MDCCCIII. 

Brit:  Mus. ; Brera;  F.R.H.,  lacking  the  last  three  lines. 

18.  Bacchanals , Two  Infant.  F.  Mola  pinx. 

Dimensions  12^  x irj. 

Engraved  at  Rome,  1780,  with  the  assistance  of  Volpato.  An 
infant  satyr  lying  on  a mound  in  the  foreground  pours  wine  from  a 


20 


CATALOGUE  OF  PLATES. 


jug  into  his  mouth.  A young  satyr  peeping  through  the  trees 
behind  him  tries  to  withhold  an  ass  who  is  browsing  on  the 
drinker’s  wreath  of  vine  leaves.  In  the  background  is  a rocky 
landscape.  The  Latin  line  quoted  is  from  Tibullus,  Book  II., 
Elegy  i. 

The  only  known  state  of  this  plate  is  as  follows  : 

In  shaded  script:  Franciscus  Mola  pinx — Volpato  et  Morghen 
Sculp,  et  Vend.  Romce  In  large,  shaded,  script  characters : 

Bacche  veni  dulcisque  tuis  b cornibus  uva  pendeat.  Tibul. 

Brit:  Mus.;  Brera  ; F.R.H. 

ip.  Bacchanals , Two  Infant.  F.  Mola  pinx. 

Dimensions,  same  as  preceding. 

Engraved  contemporaneously  with  the  preceding,  and  as  a 
companion  to  it,  illustrating  a passage  in  the  6th  Elegy  of  Tibullus, 
Book  III. 

Trial  proof.  Unfinished  throughout ; the  sky  still  blank.  The  fore- 
ground figure  has  been  touched  up  with  pen  and 
ink  to  denote  more  clearly  the  lights  and  shades. 
Brit:  Mus. 

The  artists’  names  as  in  /^except  that  there  is  here  a colon  after 
Sculp:  and  Vend:  The  inscription  in  heavy,  shaded  script : 

Care  puer,  madeant  generoso  pocula  Bacco.  Tibul. 

Brit:  Mus.;  Brera;  F.R.H. 

20%  Bacciocchi,  Elisa  Buonaparte , Sister  of 
N apoleon  I.  Counis  del. 

Dimensions,  8$-  x 6^. 

Engraved  at  Florence,  1814,  in  dty  point.  A full-face  bust 
on  a blank  background.  Canova  executed  a fine  statue  of  this 
princess  as  the  Muse  Polhymnia. 

Trial  proof.  “Proof  unfinished.”  Brassey  coll.,  Maskell. 

I.  Before  all  letters.  Brit:  Mus.,  on  India  and  plain  ; F.R.H. 

II.  In  traced  script:  Elisa  Grande  Duchesse  de  Toscane  Princesse  de 
Lucques  & de  Piornbino  In  smaller  script : Dessini par  Counis — 
Gravd par  R{  Morghen.  Brit:  Mus. 


BARI  A TIN  SKI,  FAMILY  OF. 


21 


III.  Same  lettering;  all  the  letters  shaded  except  Elisa , which  is  open 

script.  Keppel. 

IV.  Same  ; but  all  the  letters  engraved  and  shaded.  Brit:  Mus. 

21%  Baiiatinski,  The  Family  of  the  Princess. 

Angelica  Kauffman  pinx. 

Dimensions,  25^  x 15-f. 

Engraved  at  Florence,  1793-4,  for  the  Princess  Bariatinski, 
who  presented  the  plate  to  Morghen  after  two  hundred  impres- 
sions had  been  printed  for  her  own  use.  It  is  now  in  the 
possession  of  Luigi  Bardi,  Florence. 

“ This  plate  has  been  invariably  known  (see  Nagler,  Hiiber, 
Rost,  Palmerini,  and  others)  under  the  title  of  ‘ The  Family  of 
Holstein-Beck,’  but  erroneously  so.  The  original  painting,  which 
is  life  size,  is  in  the  possession  of  Prince  Wladimir  Bariatinsky,  at 
St.  Petersburg.  The  Princess  Bariatinski,  born  in  i75o,  was  a 
daughter  of  Prince  Pierre  Auguste  Frederic  de  Holstein  Beck,  a 
field-marshal  in  the  Russian  army,  and  married  Prince  Jean  Ser- 
gueewitch  Bariatinski,  Russian  ambassador  at  Paris.  She  died 
1811.  In  this  group  she  is  represented  with  her  son  Prince 
Ivan  Ivanowitch,  who  married  Lady  Mary  Dutton,  daughter  of 
Lord  Sherborne  ; the  Countess  Tolstoy,  the  daughter  of  Prince 
Ivan’s  second  wife,  and  her  husband,  Count  Nicholas  Alexandro- 
witch  Tolstoy,  grand  marshal  of  the  palace  to  the  Emperor  Alex- 
ander I.  The  Princess  Bariatinski  is  seated  on  the  right,  resting 
her  arm  on  the  chair,  and  holding  a miniature  in  her  hand,  her 
feet  on  a footstool.  The  Count  Tolstoy  stands  near  her,  holding 
a book  ; his  wife  near  him  rests  her  hand  on  his  shoulder,  while 
with  her  right  she  holds  up  her  dress.  Behind  the  two  latter  is 
Prince  John,  a full  face,  his  right  hand  resting  on  a table,  on 
which  is  placed  a pedestal  with  a bust  of  the  Duke  of  Holstein 
Beck.  In  the  background  are  a colonnaded  peristyle  and  draperies.” 
Maskell. 

Trial  proof.  “Proof  nearly  finished,  with  names  of  painter  and  en- 
graver.” Brassey  coll.,  Maskell. 

I.  Before  all  letters.  Brera,  the  only  impression  known. 


22 


CATALOGUE  OF  PLATES. 


II.  Traced  lightly  with  the  needle,  in  small  script:  Angelica  Kauffman 
pinxit — Raphael  Morghen  Sculpsit  Flor.  Brit:  Mus. 

III.  The  inscription  of  II.  erased.  Re-engraved  in  larger,  shaded  script: 

Angelica  Kauffman  Pinx:  Romae — Joan:  Bapt:  Dell'  Era  delineabit 
[sic] — Raph:  Morghen  Sculp:  Flor  With  the  arms.  Brit:  Mus.; 

F.R.H. 

IV.  Same  as  III. ; but  delhieabit  corrected  to  delineavit,  and,  in  addition, 

on  each  side  of  the  arms,  in  shaded,  engraved  script : 

A fin  d'  tguilloner  le  naturel  heureicx 

De  tes  Enfans  cheris , dont  tu  veux  le  bien-etre , 

Tu  leur  peins  les  vertus  qu'  exerqoient  les  ayeux , 

Tu  cites  les  exploits  qui  les  ont  fait  connoitre. 

Pourquoi  chercher , Princesse,  aucun  de  ces  modeles? 

Ta  bonte,  ta  douceur  et  ton  coeur  bienfaisant 
Fournit  a ces  chers  fils  tant  de  leqons  si  belles  ! 

Si  dignes  de  ton  nom  si  dignes  de  ton  rang  ! 

Dejix  de  t'imiter  Us  se  sont  fait  la  loi. 

Jaloux  d' etre  par  tout  adores  comme  toi. 

Brit:  Mus. ; F.R.H. 

22 . Bdftolini,  Visiting-card  for  the  Senator. 

Dimensions,  4§  x 3|. 

Begun  at  Florence,  1797  ; but,  owing  to  Signor  Bartolini’s 
death,  the  plate  was  never  finished. 

Fame,  a winged,  draped  figure,  holds  a trumpet  in  her  left 
hand,  and  with  her  right  points  to  the  arms  of  the  Baldelli  family, 
on  a shield  resting  on  a pedestal.  On  the  pedestal,  in  uncial 
capitals:  II  Sena  tore  Bartolini.  These  letters  are  unshaded, 
except  ena  tore.  On  the  left  is  the  trunk  of  a tree,  and  in  the 
background,  in  the  centre,  a distant  view  of  Florence. 

Brit:  Mus.,  two  impressions,  one  signed  in  pencil,  Rajfaelle 
Morghen  inventb  e incise,  also  another  impression  as  described 
above.  Brassey  coll.,  Masked,  an  impression  with  R.  M.  invento  e 
incise,  in  pencil.  F.R.H.,  an  impression  with  the  signature,  R. 
Morghen  s.,  in  pencil,  with  many  graver  marks  in  the  margin  ; also 
an  impression  without  any  writing,  and  the  margin  cleaned. 


BOCCACCIO , GIOVANNI. 


23 


2jM*  Boccaccio , Giovanni.  Vincenzo  Gozzini  dis. 

Dimensions,  iaj  x g. 

Engraved  at  Florence,  1822,  for  the  folio  edition  of  the 
“ Decamerone,”  1816,  4 vols.,  4to,  published  by  Didot,  uniform 
with  the  Pisa  edition  of  the  great  Italian  poets,  and  which 
originally  contained  only  a small  portrait-head  of  Boccaccio, 
engraved  in  a circular  medallion  by  Rosaspina.  Much  of  this 
plate  was  engraved  by  Giov.  Rivera.  It  is  intended  as  a com- 
panion to  the  portraits  of  Ariosto,  Dante,  Petrarch,  and  Tasso. 
The  original  plate  is  now  in  the  possession  of  Luigi  Bardi, 
Florence. 

Boccaccio,  “ the  Father  of  Italian  prose  ” and  a successful 
poet,  was  born,  out  of  wedlock,  in  1313,  according  to  the  best 
authorities,  at  Certaldo,  near  Florence,  where  he  also  died  on  the 
2 1 st  December,  1375.  As  Dante  was  inspired  by  his  Beatrice,  and 
Petrarch  by  his  Laura,  so  was  Boccaccio  by  the  fair  Fiametta, 
whose  identity  has  never  been  satisfactorily  determined.  He  was 
a deep  student  and  admirer  of  Dante’s  writings,  and  was  also  a 
warm  friend  and  the  frequent  companion  of  Petrarch.  He  is 
mainly  celebrated  as  the  author  of  the  “ Decameron,”  the  tales  in 
which  have  served  so  many  writers  with  themes  in  all  languages 
since.  In  Boccaccio’s  later  life  he  wrote  voluminously  on  more 
serious  subjects.  See  Girolamo  Tiraboschi,  “ Storia  della  lettera- 
tura  italiana,”  Milan,  1822-6. 

Trial  proof.  The  background,  the  hood — including  the  part  cover- 
ing the  throat — and  the  wreath  partly  engraved. 
The  face,  cloak,  hand,  and  book  etched  in  outline 
only.  Brit:  Mus.,  2 impressions, 
do  Same  as  preceding  ; but  with  some  engraved  lines  on 

the  book.  Brera. 

do  With  the  white  book.  Nearly,  but  not  quite  finished 

throughout.  Brit:  Mus.  ; F.R.H. 

I.  Before  all  letters ; the  trial  marks  of  the  graver  not  yet  removed 
from  the  margins.  Brit:  Mus. ; F.R.H. 

II.  In  engraved  and  shaded  script : Vincenzo  Gozzini  dis: — Raffaello 
Morghen  inc:  1822.  Brit:  Mus.,  the  margin  still  uncleaned. 


24 


CATALOGUE  OF  PLATES. 


III.  The  artists’  names  as  in  II.  In  addition,  in  open,  traced,  uncial 

capitals  : Giovanni  BOCCACCIO  In  print  characters  of  a single 
line  : Firenze  presso  Luigi  Bardi  e C°.  Bor  go  degli  Albizzi  N°  -460- 
Brit:  Mus. 

IV.  Same  lettering  as  in  III. ; but  with  all  the  letters  shaded.  Brit: 

Mus.,  on  parchment,  India  and  plain. 

2/j.%  Buonarroti,  Michel  Angelo.  A.  Santarelli 

dis.  „ 

Dimensions,  iof  x 7J. 

A profile  head  turned  to  the  left  in  a circular  medallion, 
engraved  in  dry-point,  at  Florence,  1817,  from  an  original  model 
in  wax.  Many  impressions  were  used  to  illustrate  the  “ Descrip- 
tion of  the  Florence  Academy  of  Fine  Arts.”  Later  it  served  as 
frontispiece  to  Rime  de  Michel- Angelo  Buonarroti  con  commento 
di  G.  Biaggioli,  Paris , presso  Veditore,  1821,  8vo. 

Michel  Angelo,  “ the  mighty  sculptor,  painter,  poet,  and  archi- 
tect,” “ the  last  and  most  famous  of  the  great  artists  of  Florence,” 
was  born  at  Caprese  in  the  Casentino,  March  6,  1475.  He  died, 
after  a long  and  eventful  life  which  has  left  its  mark  on  all  ages,  in 
his  eighty-ninth  year,  February  18,  1564.  For  details  of  his  most 
interesting  and  important  career,  see  the  able  article  of  Prof. 
Sidney  Colvin,  in  the  “Encyclopaedia  Britannica,”  9th  edition,  vol. 
XVI.,  and  the  authorities  there  quoted. 

Trial  proof.  The  outline  etching.  Brit:  Mus. 

The  only  other  state  known  is  as  follows  : Around  the  head,  on 
the  medallion,  in  engraved,  open,  uncial  capitals  : MlCHELAGNOLO 
Buonarroti.  In  minute,  traced  script,  under  the  medallion  : 
Rajfaello  Morghen  incise 

25%  The  Same. 

Dimensions,  I3f  x 9J-. 

A circular  medallion  with  profile  head  turned  to  the  right. 
Used  as  a head-piece  to  the  diplomas  of  the  Florence  Academy 
of  Fine  Arts.  The  original  plate  now  belongs  to  Luigi  Bardi, 
Florence. 


BOY  KNEELING  IN  PRAYER,  A. 


25 


Impressions  occur  only  in  this  state  : 

Around  the  inside  of  the  medallion,  in  open,  uncial  capitals: 
Michel  piu  che  mortal  Angel  hi  vino  Underneath,  in 

traced  script : Raffaello  Morghen  incise.  Brit:  Mus. 

26M'  The  Same.  Raph.  Morghen  dis. 

Dimensions,  Ilf  x 8J. 

Engraved  at  Florence,  1829.  A bust,  f-  face,  turned  to  the 
right  in  an  oval  surrounded  by  a rectangle. 

Trial  proof.  The  whole  figure  outlined.  Brassey  coll.,  Masked, 
do  The  background,  head,  shirt,  and  collar  of  the  coat, 

and  the  left  arm  partly  engraved  ; the  right  arm  and 
coat  etched  in  outline.  Brit:  Mus. 
do  Those  parts  partially  engraved  in  the  preceding  trial 

proof,  now  finished.  Otherwise  unchanged.  Brit: 
Mus. 

I.  With  the  rectangle,  and,  in  traced  script : Raffaello  Morghen  disegnb 
e inc:  1829.  Brit:  Mus. ; F.R.H. 

II.  The  lettering  of  I.  shaded  and  engraved,  and,  in  addition,  in  open, 
uncial  capitals:  Ml  CHELA  NGIOL  0 BUONAROTTI  In  shaded 
script:  A l Commendatore  A.  Ramirez  di  Montalvo  Presi- 
dente  della  R.  Accademia  delle  Belle  Arti  di  Firenze  Dirett. 
della  R.  Galleria  e Conservat.  dei  Monumenti  dei  Reali  Palazzi 
di  Toscana  Raffaello  Morghen  D.D.D.  In  italics,  in  lower 
left  corner  : Luigi  Bardi  impresse.  Brit:  Mus. 

2j.  Boy  Kneeling  in  Prayer , A. 

Engraved  at  Naples,  circa  1770.  Palmerini  gives  the  title, 
Un  Giovinetto  orante  in  ginnocchioni,  and  then  says:  “We  have 
no  knowledge  of  this  plate  except  that  it  is  mentioned  in  the 
catalogue  of  Gaetano  Poggiali’s  collection,  who  states  that  he 
received  an  impression  from  Raphael’s  father,  Filippo,  with  the 
following  note  : Primo  saggio  a bulino  di  R.  Morghen  da  giovi- 
netto. Palmerini  thinks  it  must  have  been  engraved  when  the 
artist  was  about  nine  years  old. 


2 6 


CATALOGUE  OF  PLATES. 


28 M*  Byron , Lord.  Bartolini  sculp,  marmore. 

Dimensions,  io£  x 8. 

Engraved  at  Florence,  1822,  from  a marble  bust,  to  the  order 
of  L.  Bardi  & Co.  The  original  plate  is  now  in  the  possession  of 
Luigi  Bardi,  Florence,  face,  turned  to  the  left.  Lord  Byron  was 
born  in  Holies  Street,  London,  January  22,  1788,  and  died  at  Mis- 
silonghi,  April  19,  1824. 

Trial  proof.  The  outline  etching.  Brit:  Mus. 

do  The  head  finished  ; the  neck  and  chest  still  in  outline 
etching  only.  Brit:  Mus.  ; F.R.H. 

I.  Before  all  letters.  Brit:  Mus. 

II.  With  R.  M.  traced  close  under  the  bust.  Brit:  Mus. 

III.  In  shaded  and  engraved  script:  Emidio  Cateni  dis: — Bartolini  scolpi 

— Raff f Morghen  inc:  1822.  Brit:  Mus. 

IV.  Same  lettering  as  III.,  and  in  addition:  LORD  BYRON  in  open, 

uncial  capitals.  Brit:  Mus. ; Brera. 

V.  Same  lettering  as  IV.,  but  all  the  letters  shaded ; and,  in  addition, 
in  shaded  print  characters : Firenze  presso  Luigi  Bardi  e C°.  Borgo 
degli  Albizzi  N°  4.60.  Brit:  Mus.;  Brera;  F.R.H. 

2(pM'  Canova , A.ntonio.  P.  Benvenuti  dip. 

Dimensions,  x 6f. 

Engraved  at  Florence,  1824,  in  a small  oval  without  a 
rectangle,  for  Professor  Giovanni  Rosini’s  Saggio  sulla  Vita  e 
sulle  Opere  di  Antonio  Canova , in  the  edition  of  Rosini’s  Works 
published  by  Capurro  at  Pisa,  1835-53,  11  vols.  8vo.  This  par- 
ticular essay  is  in  vol.  V. 

Canova,  one  of  the  leading  sculptors  of  modern  times,  was 
born  in  the  village  of  Passagno,  November  1,  His  ability  as 

a sculptor  was  only  equalled  by  his  constant  benevolence  and  uni- 
form gentleness  of  character.  He  died  at  Venice,  October  13,  1822. 
Morghen  has  engraved  two  of  his  sculptures  ; Theseus’  victory 
over  the  Minotaur,  and  the  tomb  of  Pope  Clement  XIII.  For  details 
of  his  life  see  Melchior  Missirini,  “ Della  Vita  di  Ant.  Canova,”  libri 


CANOVA,  ANTONIO. 


27 


quattro,  Prato,  Giachetti,  1824,  2 parts  8vo  ; Canova’s  friend, 
Cicognara,  “ Biografia  di  Ant.  Canova,”  Venezia,  1823. 

Trial  proof.  Three  quarters  finished.  Brassey  coll.,  Masked. 

I.  Before  all  letters.  Brit:  Mus. ; Brassey  coll.,  Masked. 

II.  In  shaded  print  characters:  Pietro  Benvenuti  dip. — Raff.  Morghen 
incise.  In  open,  uncial  capitals:  Antonio  Canova.  Brit: 
Mus. 

III.  Same  lettering  as  in  II.,  but  all  the  letters  shaded.  F.R.H. 

JoM*  The  Same.  Antonio  d’  Este  sculp,  in  marm. 

Dimensions,  8 x 6J. 

Engraved  at  Florence,  i8o5,  from  a basso-relievo,  as  a sur- 
prise to  his  friend  Canova  on  his  return  to  Germany.  A profile 
head  turned  to  the  left,  in  an  oval,  shaded  background.  The 
original  plate  is  now  in  the  possession  of  Luigi  Bardi,  Florence. 
It  has  been  well  copied  by  Antonio  Perfetti,  under  Morghen’s 
supervision. 

Trial  proof.  Unfinished  throughout,  the  background  blank.  Under- 
neath, in  partially  erased  traced  script : Ant.  Canova 
se  stesso  modellb  In  distinct,  traced  letters : R.  M. 
incises  Prova  unica  stampata  da  me  medesimo  per 
la  mia  Raccolta.  Brit:  Mus.,  on  yellow  paper. 

I.  Before  all  letters  ; and  before  the  indication  of  the  pupil  in  the  eye. 
Brera,  4 impressions. 

II.  Still  before  the  pupil  in  the  eye,  but  with  the  following  inscription, 
by  the  Abbate  Lanzi,  in  open,  uncial  capitals  : 

ANTONIO  . CANO  VAT  . EQVITI 
STATVARIO  . ELEGANTIAE  . VETERIS  . RESTITVTORI 
FLORENTIA  . CVRSIM  . PRAETERENVTI . A.  cIj.Ij.CCC.  V. 
RAPHAEL  . MORGHEN 

EFFIGIEM  . El  VS  . CESTRO  . S VO  . INCHOATAM 
ET  . OB  . ANGVSTIAS  . TEMP  ORIS  . NON  . PERFECTAM  . D.  D. 
NE  . AMICVM  . OPTIMVM  . INCOMP ARABILEM 
XENl . EXPERTEM  . DIM  ITT  A T . 

Brit:  Mus.  ; Brera,  on  India  and  plain. 


28 


CATALOGUE  OF  PLATES. 


III.  Same  lettering  as  in  II.,  but  with  the  indication  of  the  pupil  in  the 
eye.  Brit:  Mus. ; Brera  ; F.R.H.,  with  Morghen’s  stamp  in  lower 
right  corner. 

jiM-  Carlo  Lodovico  and  Maria  Luisa , King 
and  Queen  Regent  of  Etrmia.  G.  A.  San- 

tarelli  modellavit. 

Dimensions,  6§  x 4$. 

Engraved  at  Florence,  1804,  from  an  original  in  wax.  The 
two  heads  are  on  separate  medallions  and  face  each  other  in  profile. 

Around  the  inner  circumference  of  the  left  medallion,  in 
open,  uncial  capitals  : carlo  . lodovico  . infante  . di  . spagna  . re  . 
D'Etruria.  Around  the  inner  circumference  of  the  right  medallion, 
in  open,  uncial  capitals  : maria  . luisa  . infanta  . di  . spagna  . 

REGINA  . REGGENTE  . D'ETRURIA. 

I.  Before  the  artists’  names ; as  described.  Brit:  Mus.,  on  India, 
marked  in  pencil  unique , and  also  an  impression  on  plain  paper. 

II.  Same  as  I.,  but  in  faintly  traced  script  close  to  the  lower  margin  of 
the  left-hand  medallion:  Gio.  Antonio  Santarelli modellb — Raffaello 
Morghen  inc:m  Likewise,  close  to  the  lower  margin  of  the  right- 
hand  medallion,  the  same  lettering.  Brera;  F.R.H.  Impressions 
are  rare  even  in  this  state. 

32.  Cassano  Serra,  Arms  of  the  Duke  di. 

Dimensions,  2§  x if. 

Engraved  at  Naples,  1778. 

The  Duke  di  Cassano  Serra  possessed  an  unrivalled  and  mar- 
vellous collection  of  early  Italian  books,  which  was  bought  by  T. 
F.  Dibdin,  in  its  entirety,  for  the  great — perhaps  the  greatest — 
book  collector,  George  John,  Lord  Spencer.  Dibdin  has  described 
this  collection  in  A descriptive  catalogue  of  the  books  printed  in  the 
XV.  century , lately  forming  part  of  the  library  of  the  Duke  di 
Cassano  Serra , and  now  the  property  of  G.  f.,  Lord  Spencer ; 
London , printed  for  the  author  by  Will.  Nicol,  1823,  imp.  8vo.  ; 
which,  counting  the  AEdes  Althorpiana  (London,  1822,  in  2 vols.), 


CELLINI  BENVENUTO. 


29 


makes  the  7th  volume  of  the  Bibliotheca  Spenceriana,  printed  by 
Bulmer,  and  published  by  Longman,  London,  18 14— 18 15,  4 vols., 
imp.  8vo.  The  catalogue  of  the  Cassano  Serra  collection  is 
unfortunately  carelessly  compiled  by  Dibdin.  See  J.  C.  Brunet, 
“ Manuel  du  Libraire,”  etc.,  vol.  II.,  p.  679,  edition  of  Paris,  1861. 

This  is  a book-plate  and  represents  a simple  coat  of  arms,  sur- 
mounted by  a coronet.  On  a band  at  each  side  of  the  escutcheon 
is  in  shaded  capitals  : Ll — Duca  di — Cassano — Serra.  In  the 
lower  left  corner  of  the  plate,  in  minute,  etched  script : R.  Morghen 
sc.  Brit:  Mus. ; F.R.H.,  with  Morghen’s  stamp. 

J3M'  Cellini,  Benvenuto.  Giorgio  Vasari  dip. 

Dimensions,  9!  x t\. 

Engraved  at  Florence,  1822.  A bust  nearly  profile  turned  to 
the  left,  in  an  oval  surrounded  by  a rectangle,  representing  Cellini 
as  an  old  man  with  a full,  white  beard,  his  hair  entirely  covered  by 
a cap. 

Cellini  was  born  at  Florence,  i5oo,  and  died  in  the  same 
city  on  the  13th  December,  1569.  He  was  the  most  celebrated 
artificer  and  worker  in  metals  of  his  time.  He  has  left  a lasting 
monument  of  his  genius  in  the  bronze  of  Perseus  holding  aloft  the 
head  of  Medusa,  now  in  the  Piazza  della  Signoria,  Florence.  His 
vanity,  self-complacency,  and  quarrelsomeness  are  so  entertainingly 
set  forth  in  his  autobiography  that  they  must  be  read  to  be  appre- 
ciated. The  best  edition  is  that  by  Giuseppe  Molini,  2d  edition, 
Firenze,  1832,  2 vols.  8vo. 

Trial  proof.  Nearly  finished  throughout,  except  the  collar  of  the 
shirt,  which  is  still  blank.  Brit:  Mus. 

I.  A faint  etched  line  only  shows  the  outside  of  the  rectangle,  i.  e., 
before  the  shading  of  the  rectangle,  and  showing  the  oval  only. 
Close  under  the  oval,  in  traced  script : Georgio  Vasari  dip:— 
Raff0.  Morghen  inc:  1822.  Brit:  Mus.  ; F.R.H. 

II.  Still  before  the  rectangle.  The  artists’  names  as  in  I.;  and,  in  addi- 
tion, in  open,  flourished,  traced,  uncial  capitals:  BENVENUTO 
Cellini  Brit:  Mus. ; F.R.H. , on  India. 


30 


CATALOGUE  OF  PLATES. 


III.  Same  lettering  as  in  II. ; but  all  the  letters  shaded.  Brera. 

IV.  With  the  rectangle.  In  engraved  and  shaded  script,  at  lower 

border  of  the  rectangle:  Giorgio  Vasari  dip. — V.  Gozzini  dis: — 
Raff?  Morghen  inc:  1822  In  shaded  and  flourished  uncial 
capitals:  BENVENUTO  CELLINI  In  shaded  print  letters: 
Firenze  presso  Luigi  Bardi  e C°.  Bor  go  degli  Albizzi  N°.  4.60.  Brit: 
Mus. ; Brera;  F.R.H. 


34.  Charity. 


Ignatz  Unterberger  pinx. 

Dimensions,  I3f  x I2f. 


A kneeling  female  figure,  nude  to  the  waist,  is  surrounded  by 
three  children,  towards  one  of  whom,  who  looks  over  her  right 
shoulder,  she  bends  her  head.  Her  left  arm  clasps  a boy  who 
points  to  the  third  child  leaning  on  her  right  knee  and  suckling  at 
her  breast.  Behind  the  group  is  a bed  seen  indistinctly,  and 
through  an  open  casement  in  the  background  appears  a hilly  land- 
scape. 

The  picture  was  in  reality  painted  by  Ignatius  Unterberger, 
born  at  Cavalese,  1748  ; died  at  Vienna,  1797.  He  was  a success- 
ful student  of  Correggio’s  works,  like  Mengs,  whose  friend  and 
associate  he  was  in  Rome.  On  his  departure  from  that  city  he 
left  this  picture  behind  unfinished  and  neglected,  and,  after  a time, 
a flower-piece  was  painted  over  it.  In  1786— 7 his  brother, 
Christoph  Unterberger,  sold  this,  with  some  other  trumpery,  to  a 
picture  dealer  and  restorer,  Lovera,  who,  after  removing  the 
flower-piece  and  making  the  necessary  restorations,  brought  it 
forward  as  a newly  discovered  original  by  Correggio.  In  1792 
the  English  painter  and  art  dealer,  Alexander  Day,  purchased  for 
a large  sum  the  privilege  of  making  a drawing  from  it,  and  having 
it  engraved  by  the  then  famous  Morghen.  'This  helped  materially 
to  spread  the  fame  of  the  picture.  In  1795,  the  year  the  plate  was 
published,  Prince  Nicolaus  Esterhazy,  then  on  a visit  to  Rome, 
bought,  with  the  advice  of  the  expert  Hofrath  Hirt,  this,  together 
with  a number  of  other  classic  works.  The  price  was  1 200  ducats, 
payable  in  yearly  instalments  of  300  ducats,  but  with  a written 
contract  that  the  sale  should  be  set  aside  if  the  picture  was  proved 


CHARLES  III.  OF  SPAIN. 


3i 


at  any  time  not  to  be  the  work  of  Correggio.  On  its  arrival  in 
Vienna,  whither  Prince  Esterhazy  had  it  sent,  it  was  at  once 
identified  by  Ignatius  Unterberger,  as  painted  by  himself  in  Rome, 
and  left  unfinished  twenty-five  years  before.  It  was  consequently 
returned  to  Lovera,  in  Rome,  in  1796,  and  is  now  forgotten.  See 
Nagler’s  “ Kiinstler  Lexicon,”  vol.  XIX.,  page  249. 

A part  of  the  picture,  showing  the  greater  portion  of  the 
figures,  in  a circle  surrounded  by  a rectangle,  was  badly  engraved 
by  Bart?  Soster,  in  1827.  There  is  also  a counterfeit  of  Morghen’s 
plate ; see  I.  below.  The  original  Morghen  plate  is  now  in  the 
possession  of  Luigi  Bardi,  Florence. 

Trial  proof.  With  very  little  engraving  on  the  outline  etching. 

Brit:  Mus. 

I.  Before  all  letters.  All  the  impressions  in  this  state  are  from  a 
cleverly  executed  counterfeit  plate.  There  were  no  finished  im- 
pressions taken  from  the  Morghen  plate  till  the  next  state. 

II.  In  shaded  script : Antonins  Allegri  vulgo  Coreggio  pinx: — Raph: 
Morghen  Sculp:  Flor:  Brit:  Mus.;  F.R.H. ; Sotheby’s,  1861, 

£ 5 5*- 

III.  The  artists’  names  as  in  II.  In  addition,  in  shaded  and  flourished, 
uncial  capitals  : PULCHRIORES  CHARITUM  P INGUN  T CHARI  PA  TIS 
AMOREM  In  shaded  script,  the  first  line  much  larger  than 
the  other  two  : To  His  Hoyal  Highness  Prince  Frederic  Augus- 
tus This  Plate , is  humbly  Inscribed  by  His  Royal  Highness's 
much  obliged,  and  most  devoted  Servant  Rome  IJ95 — Alexr.  Day. 

Brit:  Mus. ; F.R.H. , with  Morghen’s  stamp. 

There  is  a brilliant  counterproof  of  this  state  in  the  Brit:  Mus. 


35%  Charles  III.  of  Spain.  Raph.  Mengs  pinx. 

Dimensions,  8J  x 5-J-. 

Bust  ; face  turned  to  the  left,  in  armor,  with  an  ermine- 
trimmed  mantle  over  the  shoulders  ; in  an  oval  frame,  surrounded 
by  a rectangle,  and  resting  on  a pedestal.  Engraved  at  Rome, 
1789,  for  the  Elogio  storico  di  Carlo  III,  Stamperia  Reale  di 
Napoli,  1789,  4to.  The  portraits  of  Charles  IV.  of  Spain,  No.  37, 


32 


CATALOGUE  OF  PLATES. 


and  of  Ferdinand  IV.,  King  of  the  Two  Sicilies,  No.  58,  were  also 
engraved  for  this  work. 

I.  “ Proof  before  letters,  with  the  artists’  names.”  Maskell. 

II.  On  the  tablet  beneath  the  oval,  in  shaded,  uncial  capitals:  CAROLUS 

llL.  In  shaded  script : Eq.  Antonius  Raph.  Mengs  pinx. — Raphael 
Morghen  sculp.  Brit:  Mus. ; Brera  ; F.R.H. 

36%  Charles  III.  of  Spain , 3 Illustrations 
for  the  Oration  at  the  Fhineral  of.  Stefano 

Tofanelli  del. 

Three  plates  engraved  at  Rome,  1788-9,  for  In  fvnere  Caroli 

III.  Hispan.  Regis  Catholici  Oratio  hahita  Bernardino  Ridolfi , &c., 
Parmae,  ex  Regio  Typografeo,  1789,  4to. 

1.  Frontispiece.  The  Pope,  Pius  VI.,  standing  under  a dais, 
and  waving  incense  toward  the  sarcophagus.  In  shaded  script : 
StepJf.  Tofanelli  delin. — Raph1.  Morghen  sculp.  Brit:  Mus. ; Brera, 
without  margin,  and  in  bad  condition  ; F.R.H. 

Dimensions,  x 7|-. 

2.  Head-piece  to  Dedication.  A circular  medallion,  surmounted 
by  laurels,  on  which  are  the  heads  of  Charles  IV.  and  his  queen  in 
profile  to  the  right.  On  the  left  of  the  medallion  is  seated  a 
draped  female  figure  holding  a cup  with  both  hands  on  her  left 
knee.  On  the  right,  a standing  figure  of  Minerva,  a drawn  sword 
in  her  right  hand,  and  a pair  of  scales  in  her  left.  Seated  at  her 
feet  is  a third  woman  suckling  two  nude  infants,  whom  she  holds 
on  her  knees.  At  her  right,  a third  nude  child.  Under,  in  shaded 
script : Stephf.  Tofanelli  delin. — Raph1.  Morghen  sculp.  Around  the 
inside  of  the  medallion,  in  shaded,  uncial  capitals  : carol,  iv.  rex. 
aloysia.  m.  regin.  hispan.  et.  ind.  Brit:  Mus. ; Brera  ; F.R.H. 

Dimensions,  4!  x 6. 

j.  Vignette  heading  to  page  i.  A round  medallion,  on  the 
base  of  a column,  showing  a profile  portrait-head  turned  to  the 
left.  On  the  left  of  the  medallion  is  a draped  female  figure,  seated, 
holding  on  her  knees  the  pontifical  hat,  and  in  her  right  hand  the 
two  keys  of  St.  Peter.  In  the  centre,  in  front  of  the  medallion,  is 


CHARLES  IV.  OF  SPAIN. 


33 


a draped  female  figure,  her  head  resting  on  her  left  hand,  a round 
mirror,  into  which  she  is  looking,  in  her  outstretched  right  hand. 
On  the  right  of  the  base  of  the  column  is  a draped  figure  of 
Minerva,  standing.  She  is  leaning  her  left  arm  on  a short  pillar, 
her  head  resting  on  her  right  hand.  She  wears  a helmet,  and  her 
head  is  turned  toward  the  portrait.  At  the  foot  of  the  pillar,  on 
her  left,  the  fore-part  of  a lion  is  visible.  In  the  background,  on 
the  left,  some  poplars  ; on  the  right,  an  open  plain.  Around  the 
inside  of  the  medallion,  in  shaded,  uncial  capitals  : carolus.  hi. 
hi  span.  et.  ind.  rex.  Under,  in  shaded  script : Stephf.  Tofanelli 
delin. — Raph1.  Morghen  sculp.  Brit:  Mus. ; Brera  ; F.R.H. 

Dimensions,  4\  x 6. 

Besides  these  plates,  there  occur  in  this  book  three  vignettes 
by  Joan.  Volpato,  and  two  initials,  TV  and  I. 

37M'  Charles  IV.  of  Spain. 

Dimensions,  4f  x 4%. 

Engraved  at  Rome,  1789,  for  the  same  work  as  No.  35. 
No.  58  was  also  engraved  for  this  work.  A bust,  in  armor,  with 
profile  head  turned  to  the  left,  on  an  oval  medallion  in  an  orna- 
mented rectangle  ; vignette  heading  to  page  iv.  Beneath  the 
plate  are  eight  lines  of  print  beginning  with  “ Sire,”  and  ending 
with  “ e al.”  The  page  at  the  back  of  the  vignette  is  blank, 
except  for  “ Semper  Honos  Nomenque  Tuum  Laudesque  Mane- 
bunt.  Virg.  Eel.  V ” printed  across  the  back  of  the  vignette. 

The  plate  throughout — including  the  portrait — is  very  nearly 
a fac-simile  of  that  of  Ferdinand  IV.,  No.  58.  The  rectangles  are 
evidently  copies  one  of  the  other.  A close  examination  of  the 
details  shows  they  are  not  identical.  The  heads  are  strikingly 
alike.  The  original  plates  are  now  both  in  the  possession  of  Luigi 
Bardi,  Florence. 

I.  In  shaded,  uncial  capitals,  in  lower  border  of  the  rectangle  : CAROLUS 
IV  At  right  lower  corner  of  the  rectangle,  in  shaded  and 
engraved  script : Raph.  Morghen  sculp.  Without  any  printing 
below  or  at  the  back.  Brit:  Mus.;  Brera;  F.R.H. 

II.  With  the  printing  below  and  at  the  back,  as  described  above.  Brera. 


34 


CATALOGUE  OF  PLATES. 


j8.  Christ  appearing  to  Magdalen  in  the  Gar- 
den. Noli  me  tangere,  etc.,  John  XX.,  i5,  16.  F.  Baroc- 

CIO  plUX.  Dimensions,  22  x 14^. 

Engraved  at  Florence,  1 8 1 6,  from  an  original  then  in  the 
Bonvisi  Gallery  at  Lucca,  and  which  is  now  in  England.  Mrs. 
Jameson — “ Sacred  and  Legendary  Art.,”  London,  i85o,  vol.  I.,  p. 
361 — says  : “ Baroccio's  great  altar-piece,  which  came  to  England 
with  the  Duke  of  Lucca’s  pictures,  once  so  famous  and  well  known 
from  the  fine  engraving  by  Raphael  Morghen,  is  poor  compared 
with  any  of  these  [viz.,  the  following  treatments  of  the  same  sub- 
ject : Duccio’s,  the  old  fresco  of  Taddeo  Gaddi  in  the  Rinuccini 

Chapel,  Titian’s  in  Mr.  Rogers’  collection,  Rembrandt’s  in  the 
Queen’s  Gallery]  : Christ  is  effeminate  and  commonplace — Mary 
Magdalen  all  in  a flutter.”  But  see  the  same  author,  “ History  of 
Our  Lord,”  Lond.,  1864,  pp.  278,  et  seq.  A.  E.  Lapi  engraved  the 
greater  part  of  this  plate,  which  was  sent  by  Raphael  as  a present 
to  his  father  in  Naples,  together  with  the  Mary  Magdalen,  No.  io5  ; 
both  plates  have  been  lost. 

Trial  proof.  “Proof  in  acqua-fortis  (extremely  rare).”  Maskell. 
do  Unfinished  throughout  ; the  sky  blank  and  the  figures 

etched  in  outline  only.  Brit:  Mus. 
do  Both  figures,  and  some  of  the  other  parts — e.  g.,  the 

foreground  drapery  of  Magdalen  and  the  three 
crosses  seen  through  the  upper  left  side  of  the  arch — 
are  etched  in  outline  only.  The  ground  in  the  imme- 
diate foreground  is  also  unfinished.  F.R.H. 

This  is  probably  the  state  of  the  plate  when  Mor- 
ghen took  it. 

do  Nearly  finished  except  the  figures  and  the  foreground. 

There  is  some  burin  work  on  the  heads,  especially 
Christ’s.  Brit:  Mus. 

Remark  proof.  “ Proof  before  all  letters  and  with  the  white  reed.” 
1861,  ^9  9 s.  Brassey  coll.,  Maskell.  Sotheby. 
do  With  the  white  reed  : the  plate  is  finished  except  the 

end  of  one  of  the  reeds  in  the  foreground.  This  is 
shaded  in  some  of  the  trial  proofs,  but  the  shading  is 
removed  in  this  state.  In  shaded  and  engraved 
script  : Frider:  Baroccio  pinx:  — Stiph:  Tofanelli 
delin  : — Raph:  Morghen  Sculpsit  With  Morghen’s 
stamp.  Brit:  Mus.;  Frankfort,  1881,  n s. 


CHRIST  AS  A CHILD . 


35 


I.  There  are  false  proofs  only  before  all  letters,  printed  about  1872-4 
on  smooth  modern  paper. 

II.  In  shaded  script  : Frider:  Baroccio  pinx: — Steph:  Tofanelli  delin: — 
Raph:  Morghen  Sculpsit  In  open,  traced,  uncial  capitals  : PIO 
VII.  PONT.  MAX— CONSTANT!  INVICTO  With  the  arms.  On 
the  reed  is  now  traced  in  dotted  letters  : Pio  VII  Cosci  et  Lapi 
votis  susceptis  grates  agunt  Brit:  Mus. 

III.  Same  as  II. ; but  with  all  lettering  removed  from  the  reed,  and 

shaded  lines  substituted.  F.R.H. 

IV.  Same  as  III.;  but  in  addition,  in  large,  shaded,  Gothic  characters: 

Noli  me  tangere  and,  in  the  same  line,  but  in  smaller  letters  : 
Joan:  C:XX  This  line  precedes  the  one  beginning  Pio  VII  etc. 
Under  the  latter,  in  smaller,  shaded,  uncial  capitals  : OP  TIMA R VM. 
artium. — FAVTORI.  PATRONO  Then,  in  shaded  script:  Arche- 

typum  in  Pinacotheca  Marchionis  Francisci  Bonvisi  Lucensis — 
Nicolaus  Cosci  primus  a curia  Arch:  Flor:  et  Ang:  Aemilius  Lapi 
devoti  Santitati  ejus  Florentiae  1816.  Apud  Angel:  Aemilius 
Lapi  in  Acad:  Bonarum  Artium  Under  the  arms,  in  print 
characters:  Aloys:  Bar di  impressit  Brit:  Mus. 

jg.  Christ  appearing  to  Magdalen  in  the  form 
of  a Gardener.  Egidio  Sadeler  pinx. 

According  to  Palmerini  this  was  the  first  plate  engraved  by 
Morghen  in  Volpato’s  school  at  Rome,  1778  ; but  Palmerini  had 
never  seen  an  impression,  nor  is  any  known.  Charles  Blanc,  in 
his  unfinished  and  carelessly  compiled  “ Manuel  de  1’  Amateur  d’ 
Estampes,”  translates  Palmerini’s  ortolano  into  the  French  ortolan , 
which  is  probably  the  first  mention  of  the  miracle  of  Christ’s  trans- 
formation into  a bird ! 

po.  Christ  as  a Child , holding  a wreath  of 
roses.  Carlo  Dolci  pinx. 

Dimensions,  8 x 5J. 

Engraved  at  Florence,  1 8 1 5,  for  Artaria,  of  Mannheim,  as  a 
companion  to  the  Madonna  del  Caracci,  No.  93.  The  original 


36 


CATALOGUE  OF  PLATES. 


plate  is  now  owned  by  Luigi  Bardi,  Florence.  The  engraved 
portion  of  the  plate  only  measures  2-f  x 2,  but  shows  Morghen  at 
his  best  at  small,  minute  work.  It  represents  a youthful  head 
slightly  inclined  to  the  left,  with  a draped  bust.  On  the  right  is  a 
wreath  of  roses.  It  is  an  oval  surrounded  by  a rectangle. 

There  are  no  trial  proofs  known. 

I.  Before  all  letters  and  before  the  rectangle.  Brit:  Mus. 

II.  Before  all  letters,  but  with  the  rectangle.  F.R.H. 

III.  Carlo  Dolci  dep: — Raff  "..  Morghen  inc:  Brit:  Mus. 

IV.  The  artists’  names  as  in  III.,  with  the  addition  in  shaded,  uncial 

capitals  of  SALVATORE  In  shaded  script:  II  quadro  Originate 
trovasi  nella  Reale  Galleria  di  Monaco.  In  large  print  char- 
acters : Mannheim  presso  D.  Artaria  1815.  Brit:  Mus. 


41 . Christ  displaying  his  wounds.  Sic  Deus  di- 
lexit  Mundum,  etc.  Carlo  Dolci  pinx. 

Dimensions,  12  x 8f. 

Engraved  at  Florence,  1 8 1 8,  from  a miniature  copied  from  the 
original  painting  by  Tommaso  Nistri.  The  draperies  were  en- 
graved by  Emanuele  Esquivel,  Morghen  only  outlining  them.  It 
was  engraved  to  order  for  the  firm  of  Luigi  Bardi  & Co.,  who  had 
then  just  begun  their  business.  A half-length  figure  of  Christ 
seated  in  the  clouds,  and  with  the  face  slightly  turned  to  the  right, 
showing  the  wounds  in  his  hands  and  side. 

There  are  two  copies,  same  size  as  this  plate,  one  by  Claudio 
Artaria,  1832,  the  other  by  Massimiliano  Capezzuoli. 

Trial  proof.  The  outline  etching,  without  the  rectangle.  Brit:  Mus. 
do  The  fleshes,  hair,  the  globe,  and  the  background 

partially  engraved.  Still  without  the  rectangle. 
Brit:  Mus. 

do  The  same  parts  engraved  as  in  the  preceding,  but  more 

advanced.  Without  the  rectangle.  Brit:  Mus. 

Remark  proof.  With  the  white  cross,  i.  e.,  the  oval,  finished  except 
the  cross  surmounting  the  globe,  which  is  left  blank. 
The  rectangle  is  still  lacking.  Brit:  Mus.  Accord- 
ing to  Maskell  there  are  18  impressions  of  this 
state. 


CHRIST  PROCLAIMING  THE  LA  W. 


3 7 


I.  With  the  rectangle,  but  before  all  letters.  F.R.H. 

II.  In  delicate  traced  script : Carlo  Dolci  dipinse — Tom:  Nistri  disegno — 

Raff f Morghen  inc:  1818.  Brit:  Mus. 

III.  Same  as  II.,  but  the  artists’  names  shaded  and  engraved  ; and,  in 

open,  traced,  uncial  capitals:  SIC  DEUS  DILEXIT  MUNDUM 
In  small,  traced  script : Joan.  C.  III.  Brit:  Mus.  According  to 
Masked  there  are  only  18  impressions  of  this  state. 

IV.  Same  as  III.,  and  in  addition  in  traced  script:  All'  Illm°  SigT  CavJ 

Angelo  Benedetto  Poublon  Amantissimo  Protettore  delle  Belle 
Arti  Luigi  BardiD.  D.  D.  Firenze  presso  Luigi  Bardi  e C° 
in  Borgo  degl'  Albizzi  N 4.60.  Brit:  Mus. 

V.  Same  lettering  as  IV.,  but  all  the  letters  engraved  and  shaded.  Brit: 
Mus. 

42.  Christ  proclaiming  the  Law.  Tres  sunt  qui 
testimonium  dant,  etc.  Leonardo  da  Vinci  pinx. 

Dimensions,  I2f  x gj. 

Engraved  at  Florence,  1817,  for  Luigi  Bardi.  The  fleshes 
and  finishing  were  executed  by  Morghen,  the  rest  of  the  plate  was 
engraved  by  Emanuele  Esquivel.  The  subject  is  taken  from  the 
original  picture  of  Christ  disputing  with  the  Doctors,  now  in  the 
National  Gallery,  London.  Only  a part  of  the  figure  of  Christ 
appears  in  the  plate. 

Trial  proof.  Unfinished  throughout  ; the  fleshes  still  in  outline 
only.  Brit:  Mus.,  signed  in  pencil  : Morghen  j 
Pinakotheka,  Munich,  in  pen  and  ink,  underneath  : 
Unica  pr ova  dall'  A — F = . 

do  Same  as  preceding,  except  that  there  are  a few  lines  of 

burin  work  on  the  eyes,  mouth,  and  beard.  Brit: 
Mus. 

do  Lacking  the  finishing  touches  only.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus. 

II.  In  engraved  and  shaded  script : Leonardo  da  Vinci  dip: — Pietro 
Ermini  dis: — Raffaello  Morghen  inc:  Brit:  Mus. 

III.  The  artists’  names  as  in  II.  ; in  addition,  in  open,  traced,  uncial 

capitals  : TRES  SUNT  QUI  TESTIMONIUM  DANT:  IN  COELO 

In  skeleton  script : Joan.  c.  v.  6.  7.  In  larger,  traced  script : 


38 


CATALOGUE  OF  PLATES. 


A S.E.  Dn.  Carlo — Michele  Stuart  Duca  di Berwick  e d'  Alba, — 

Conte  di  Modica,  Grande  di  Spagna — di  /?  Classe  &c.  &c.  &c. 
In  small  script : Luigi  Bardi  e Comp:  D.  D.  D.  In  Firenze 
Appo:  Luigi  Bardi  e Comp:  in  Borgo  deg V Albizzi  With  the 

arms.  Brit:  Mus.,  on  India  and  plain. 

IV.  Same  lettering  as  III.,  but  all  the  letters  shaded,  and,  in  addition, 
after  Albizzi  is  added,  in  a line  below  : N°  460.  Brit:  Mus. 

43%  Clement  XIII.,  The  Tomb  of  Pope.  Canova 

sculp,  marmore. 

Dimensions,  2gf  x i8f. 

Carlo  Rezzonico,  Bishop  of  Padua,  of  a Venetian  family,  was 
born  1716,  and  raised  to  the  Papacy  in  July,  1758.  His  amiable 
and  affable  character  was  sorely  tried  by  the  demands  of  Spain, 
France,  and  Portugal,  for  the  suppression  of  the  Jesuits.  His 
apostolical  brief  in  their  favor,  issued  in  1765,  showed  him  to  be 
a strong  partisan  of  that  order.  His  suspiciously  sudden  death 
occurred  February  3,  1769.  Engraved  at  Rome,  1790,  after  the 
original  marble  monument  in  St.  Peter’s,  at  Rome,  erected  by  the 
Pope’s  own  family. 

When  the  plate  was  nearly  finished  the  monument  was  placed 
in  its  position,  and  it  then  became  evident  that  the  light  and  shade 
materially  altered  the  effect.  The  engraving  was  accordingly 
changed.  The  most  noticeable  of  the  alterations  was  the  suppres- 
sion of  the  two  figures  as  seen  through  the  door  in  the  trial  proof 
given  below. 

Trial  proof.  All  the  figures,  including  the  lions,  are  etched  in  out- 
line only,  except  for  some  few  lines  in  dry-point. 
Through  the  open  door-way  of  the  tomb  two  figures 
are  seen  in  the  vault,  one  holding  a lamp.  They  are 
only  etched  in  outline  and  disappear  in  the  finished 
plate.  Brit:  Mus. 

do  “ Proof  nearly  finished.  The  figures  in  the  doorway 

taken  out.”  Brassey  Coll.,  Maskell. 

I.  Before  all  letters  and  before  the  arms.  Brit:  Mus. ; F.R.H. 

II.  “ Proof  before  all  letters,  with  the  artists’  names.”  Brassey  coll., 
Masked. 


DANTE  ALIGHIERI. 


39 


There  are  false  proofs  of  this  state  on  modern  paper. 

III.  In  shaded,  engraved  script : Antonins  Canova  inven.  et  faciebat — 
Stephanus  Tofanelli  delin. — Raph.  Morghen  sculp.  Romae  In 
open,  uncial  capitals  : ABVNDIVS  . A VRELl . F . — REZZONICVS  . 
SENA  TOR  . VRBIS  . MONVMENTVM  . PA  TR  VI . SANCTISSIMI. 
SVO  . — ET  CONCORDISSIMORVM  . FRA  TR  VM  . NOMINE.  IN  . 
BASILICA  . VATIC  ANA  . — ANNO  . M . DCC  . LX XXXI I . DICATVM . 
ARTIFICI . MANV  . IN  . AERE  . EFFIGENDVM. — EXPRESSISQVE  . 
INDE  . EXEMPLIS  . vvlgandvm  . C . With  the  arms.  Brit: 
Mus.,  2 impressions;  F.R.H. 


CoflllC  MuSC,  The.  La  Musa  Comica.  Portrait 
of  Lady  Hamilton  as  the  Comic  Muse.  Angelica  Kauff- 
mann  pinx. 

Dimensions,  17J  x i2f 

Engraved  at  Rome,  1789.  The  picture  is  a portrait  of  Emma, 
the  beautiful  Lady  Hamilton,  wife  of  Sir  William  Hamilton,  whose 
intimacy  with  Horatio,  Lord  Nelson,  made  her  so  unfortunately 
conspicuous.  She  died  at  Calais,  France,  in  1816,  in  misery  and 
want. 

The  original  plate  is  now  owned  by  Luigi  Bardi,  Florence. 

A -|  figure,  full  face,  draped,  appearing  from  behind  a curtain, 
which  is  held  back  by  the  left  hand,  while  she  removes  a mask  with 
her  right.  On  her  belt  is  a cameo  profile  of  Lord  Nelson. 

I.  In  engraved  and  shaded  script : Angelica  Kauffman  pinxit — Raphael 
Morghen  sculp.  Romae.  Brit:  Mus. 

II.  In  shaded  script:  Raphael  Morghen  sculp.  Romae  In  large,  shaded 
script : Quam  veteres  Graij  pulchram  esfinxere  Thaliam  esficta 
est  nostro  pulchrior  in  Latio.  Brit:  Mus.  ; F.R.H.,  on  India  and 
plain. 

/J. Dante  xA lighten.  Tofanelli  del.  The  larger 
plate. 

Dimensions,  13  x gj-. 

Engraved  at  Florence,  1803,  at  the  request  of  Dr.  Rosini,  to 
illustrate  his  edition  of  “ La  Divina  Comedia,”  della  Tipografia 


40 


CATALOGUE  OF  PLATES. 


della  Societa  Letteraria,  Pisa,  1804-9,  4 volumes,  folio.  This 
portrait  is  uniform  with  those  of  the  four  other  “ Fathers  of  the 
Italian  language  and  poetry  ” : Ariosto,  Boccaccio,  Petrarca,  and 
Tasso. 

Dante  was  born  at  Florence,  1265,  and  after  an  eventful  and 
tempestuous  life  died  at  Ravenna,  1321.  As  the  grandest  poet  of 
Italy,  the  author  of  the  “ Divina  Comedia,”  and  as  one  of  the  most 
learned  men  of  his  time,  his  name  has  remained  famous  for  nearly 
five  hundred  years.  “ Read  and  commented  upon  in  the  Italian 
universities  in  the  generation  immediately  succeeding  his  death, 
his  name  became  obscured  as  the  sun  of  the  renaissance  rose 
higher  toward  its  meridian.  In  the  seventeenth  century  he  was 
less  read  than  Petrarch,  Tasso,  or  Ariosto  ; in  the  eighteenth  he 
was  almost  universally  neglected.  His  fame  is  now  fully  vindicated. 
Translations  and  commentaries  issue  from  every  press  in  Europe 
and  America.  Dante  societies  are  formed  to  investigate  the 
difficulties  of  his  works.  He  occupies  in  the  lecture-rooms  of 
regenerated  Italy,  a place  by  the  side  of  those  great  masters  whose 
humble  disciple  he  avowed  himself  to  be.”  Oscar  Browning.  For 
an  excellent  and  complete  work,  see  Scartazzini,  Dante  Allighieri , 
seine  Zeit , sein  Leben  und  seine  Werke,  Biel , 1869. 

Trial  proof.  The  face,  neck,  front  of  the  cap,  the  coat  and  hand 
etched  in  outline  only  ; the  rest  only  partly  engraved. 
Brit:  Mus.,  two  impressions  ; Brera  ; F.R.H. 
do  The  hand  still  in  outline  only  ; all  the  rest  of  the  plate 

uniformly  advanced  and  nearly  finished.  The 
margin  uncleaned.  F.R.H. 

I.  Before  all  letters.  Brit:  Mus. ; on  India. 

II.  In  traced  script : Stefano  Tofanelli  delineb  — Raffaello  Morghen 
incise  in  Firenze.  Brit:  Mus.;  Brera,  on  India;  Sotheby,  1861, 
£ 4 

III.  The  artists’  names  as  in  II.  ; in  addition,  in  open,  uncial  capitals: 

DANTE  ALIGHIERI  Brit:  Mus. ; Brera,  a counterproof. 

IV.  Same  lettering  as  III.,  but  shaded  and  engraved.  Brit:  Mus. 

V.  Same  as  IV.,  but  in  addition,  in  shaded  script,  in  a line  below  the 
title : Luigi  Bardi  hnpresse.  Grandi. 


DAFNI  ED  AMORE. 


4i 


46%  The  Same.  The  smaller  plate  from  the  same  draw- 
ing as  the  preceding. 

Dimensions,  7f  x 5f. 

Engraved  at  Florence,  1806,  for  Morghen’s  friend’s,  Gaetano 
Poggiali’s,  edition  of  “ La  Divina  Comedia,”  Livorno,  Th.  Masi, 
1807-13,  4 vols.  large  8vo.  The  Poggiali  referred  to  is  he  who 
first  got  together  the  collection  of  the  Morghens,  now  in  the  Brera, 
Milan,  and  to  whom  Palmerini  addresses  the  first  part  of  his  life 
of  Morghen. 

Trial  proof.  The  face,  hand,  and  coat  blank.  Brit:  Mus.;  Brera. 
do  The  face  engraved,  but  not  finished.  The  hand  and  coat 
still  blank.  Brit:  Mus.  * 

do  The  background,  cap,  wreath,  right  arm,  and  outside  (bind- 

ing) of  the  book  finished.  The  face  partly  engraved 
throughout ; the  rest  blank.  Brera. 

I.  Before  all  letters.  Brera,  2 impressions;  on  one,  on  India,  is  etched 
in  very  delicate,  traced  script : Prova  unica  per  V Amico  Sigr.  Gaen° 
Poggiali  R.M. 

II.  In  engraved  and  shaded  script:  Stefano  Tofanelli  delin: — Raffaello 
Morghen  inc:  Brit:  Mus. ; Brera,  2 impressions,  one  on  vellum, 

the  other  on  white  satin  ; F.R.H. 

III.  Same  as  II.;  but  • in  addition,  in  open,  traced,  uncial  capitals: 

DANTE  ALIGHIERI  Brit:  Mus. 

IV.  Same  as  III.,  but  all  the  letters  shaded.  Brit:  Mus. ; Brera  ; F.R.H. 

V.  Same  lettering  as  IV.  ; but  the  title,  DANTE  ALIGHIERI— still  in 

shaded,  uncial  caps. — re-engraved  nearer  the  oval,  and  italicized, 
i.  e.,  slanted  to  the  right.  Grandi. 

47.  Dafni  ed  A more.  Aug.  Nahl  pinx. 

Dimensions,  i6f  x 13. 

This  and  No.  48  were  engraved  at  Rome,  1782  or  1783.  An 
oval  in  a rectangle.  Daphnis,  as  a shepherd,  is  seated  in  a wood, 
a dog  beside  him,  and  looking  at  a cupid,  who  points  toward  a 
lake  in  the  background,  on  which  is  a boat.  It  is  in  illustration 
of  the  verse  from  Gesner’s  Idyls,  quoted  below.  Salomon 
Gesner  (or  Gessner) — born  at  Zurich,  April  1,  1730,  died  March  2, 


42 


CATALOGUE  OF  PLATES. 


1788 — was  a Swiss  painter  and  poet,  and  once  a very  favorite  and 
widely  read  author.  “ It  is  somewhat  difficult  for  us  now  to 
understand  the  reason  of  Gesner’s  universal  popularity,  unless  it 
was  the  taste  of  the  period  for  the  conventional  pastoral.  His 
writings  are  marked,  it  is  true,  with  sweetness  and  melody,  but 
the  sweetness  soon  becomes  insipidity,  and  the  melody  monotony. 
He  represents  in  most  of  his  works  the  existence  of  shepherds  in 
a golden,  or  rather  tinsel,  age,  and  nothing  more  unreal  could 
possibly  be  imagined.  His  men  and  women  are  inane  and  lifeless 
representations.  They  are  all  alike,  and  all  equally  uninteresting. 
Their  talk  is  but  meaningless  platitude.  As  a painter,  Gesner 
represented  ‘ still  country  scenes,  rocks,  springs,  and  waterfalls, 
shepherds,  and  shepherdesses  ’ ; in  short,  the  conventional  classical 
landscape.” 

In  shaded  and  engraved  script:  Augustus  Nahl  pinx * — Apud 
Joan.  Volpato  In  italic  capitals,  of  a single  line : DAFNI  ED 
AMORE  In  shaded,  and  engraved  script : 

A mor  diceva  al  Pastorello  a fflitto  : 

Sciogli  la  barca,  e valichiamo  il  Jiume ; 

Ti  render  a beato  il  tuo  tragitto.  Gesner. 

Brit:  Mus. ; F.R.H. 


j8 . Dafni  e Fille.  Ditto  pinx. 

Dimensions,  i6f  x 13. 

Engraved  at  Rome,  1782  or  1783,  as  a companion  to  No.  47. 
The  artists’  names  in  same  lettering  as  the  preceding,  as  are 
also  the  title  and  these  three  verses  : 

DAFNI  £ FILLE 
Improviso  stupor,  gioja,  ed  amore 
Sfavillano  negli  occhj  degli  amanti, 

E se  negli  occhj,  che  sard  nel  cuore  ? Gesner. 

Brit  :Mus. ; F.R.H. 

There  are  besides  two  more  plates  belonging  to  this  work, 
both  painted  by  Felix  Gianni,  and  engraved  Aptid  Joan.  Volpato. 


DIANA  AND  HER  NYMPHS. 


43 


The  quotation  under  each  is  respectively  as  follows  : 

N?  I.  PRIMO  NA  VIGA  TORE. 

Quella  che  fu  gia  sogno  al  tuo  pensiero , 

Chi  sa,  che  col  passar  I'onda  marina 
A mor  non  sappia  convertirlo  in  vero  ? Gesner  Canto  I. 

Nell.  PRIMO  NA  VIGA  TORE. 

Miran  Vinforme  barca , e il  marche  freme 
Ma  non  miran  piu  altro  il  lor  begli  occhi 
Quand'  anno  apreso  a vagheggiarsi  insieme.  Gesner  Canto  II. 

4 9%  Denison , Portrait  of  Mr. 

Dimensions,  15  x gf . 

Engraved  at  Florence  in  August,  1816.  The  draperies  and 
accessories  engraved  by  Giovanni  Calendi  ; Morghen  engraved 
the  fleshes  only,  i.  e.,  the  head  and  hands. 

A full-length  figure,  seated  in  a low-backed,  plain,  arm-chair, 
wearing  a coat  with  high  collar  and  tight-fitting  trowsers  and 
gaiters.  The  right  leg  is  crossed  over  the  other  knee,  the  left  arm 
hangs  over  the  arm  of  the  chair.  The  background  is  blank. 

Trial  proof.  “ Proof  nearly  finished  ; but  without  the  head,  which 
is  not  even  in  outline.”  Brassey  coll.,  Maskell. 

In  this  state  Calendi  handed  the  plate  over  to 
Morghen. 

I.  Before  all  letters.  The  coat  and  trowsers  heavily  engraved.  The 
hands,  head,  neckerchief,  and  waistcoat  in  dry-point.  Brassey 
coll.,  Maskell ; Pinakothek,  Munich,  signed  in  pencil  in  Morghen’s 
hand  at  lower  right  corner. 

50M'  Diana  and  her  Nymphs.  Diana’s  Hunt.  La 
Cacciadi  Diana.  Le  Prix  de  Diane.  Domenichino  Xampieri 
pinx. 

Dimensions,  29^  x 19$. 

Engraved  at  Rome,  1784,  contemporaneously  with  “Parnas- 
sus,” No.  137,  to  which  it  is  a companion,  from  the  well-known 
original  in  the  Palazzo  Borghese,  Rome,  Platner  and  Bunsen,  III., 


44 


CATALOGUE  OF  PLATES. 


iii.,  279.  These  two  plates  were  the  first  fruits  of  the  partnership 
between  Volpato  and  Morghen,  which  was  begun  in  this  year.  In 
the  earlier  states  there  is  engraved — very  indistinctly — per  Vamico 
Puccini  on  a thong  of  one  of  the  sandals  hung  up  as  prizes.  Tom- 
maso  Puccini  was  an  intimate  friend  of  Morghen. 

Diana,  standing  on  a small  mound,  holds  aloft  in  her  right 
hand  a bow  and  hoop,  in  her  left  a quiver ; on  her  head  her 
emblem,  a crescent.  On  her  right,  behind  her,  a nymph  raises  a 
pole  hung  with  trophies  and  prizes.  In  the  left  foreground  a group 
of  seven  nymphs  are  shooting.  In  the  centre  two  nude  nymphs 
bathing,  and  on  the  right  a seated  nude  figure  looking  at  a promi- 
nent group  of  a nymph  and  two  dogs.  There  are  in  all  twenty- 
three  figures,  all  animatedly  employed  in  games  and  sports,  besides 
two  male  heads  peeping  through  the  foliage  in  the  right  foreground. 

Trial  proof.  Unfinished  throughout ; the  sky  blank,  and  many 
blanks  in  the  figures.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus. 

II.  Traced  very  indistinctly,  in  minute  script : Dominichus  pinxit  — 
Raph.  Morghen  Sculp.  Romce.  Brera  ; Keppel,  on  vellum  ; F.R.H. 
According  to  Maskell  there  were  only  five  impressions  taken  of 
this  state. 

III.  The  letters  in  II.  not  erased  ; but  engraved  over  them  in  heavy, 

shaded  script : Domcu.s  Sampieri  vulgo  Dominichino  pinx. — Raphe} 
Morghen  Sculp.  Romce  In  shaded,  uncial  capitals:  deliae 
TUTELA  DEAE  FUGACES.  LYNCAS  ET  SEE  EOS  COHIBENTIS  ARCU. 
In  large,  roughly  engraved,  shaded  script : A Sua  Eccelenza  la  Sigr ;* 
Contessa  di  Spencer  In  smaller,  shaded  script,  at  lower  right 
corner : Gion!  Volpato,  e Raf.  Morghen  D.D.D.  Keppel. 

The  early  impressions  of  this  state  are  said  to  be  on  paper  with 
the  water-mark  “Pietro  Miliani  di  Fabriano,”  but  this  has  not 
been  found  to  be  invariably  the  case  in  the  many  impressions  ex- 
amined. 

IV.  The  same  lettering  as  in  III. ; but  a crack  in  the  plate  has  occurred, 

through  an  accident,  between  A and  Sua  in  the  dedication.  These 
impressions  are  printed  on  smooth,  thick,  white  paper.  Grandi. 


ECCE  HOMO. 


45 


5/ M Disegno,  36  Plates  for  Lo  Studio  del. 

Dimensions,  igf  x 14^. 

Engraved  at  Rome,  1783,  by  Giov.  Volpato  and  Raph. 
Morghen.  The  work  consists  of  the  plates,  and  besides  4 
leaves  of  text  in  Italian  and  French,  and  a frontispiece.  The 
title  in  full  is  : Principj  del  disegno  tratti  dalle  piu  eccelenti 
statue  antiche  per  li  giovani  che  vogliono  incomminarsi  nello 
studio  delle  belle  arti ; pubblicati  ed  incisi  da  Giov.  Volpato 
e Raffaelle  Morghen.  In  Roma  nella  Stamperia  Pagliarini , 
1/86.  Con  Licenza  de  Superiori.  Atlas  folio.  “ Ouvrage 
elementaire  d’un  merite  reconnu.  L’edition  originale  etant 
devenue  rare,  a ete  reproduce  avec  exactitude  par  le  graveur 
de  l’Academie  de  Venise,  sous  un  titre  italien,  Milan,  1831,  et 
sous  un  titre  frangais,  Rome,  1833,”  large  folio.  Brunet,  “ Manuel 
du  Libraire,”  Art.  Volpato. 

32.^  E,CCe  HontO.  II  Piccolo  Redentore.  “ Leonardo  da 

Vinci  ” pinx. 

Dimensions,  8f  x 5f-. 

Engraved  at  Florence,  1807,  from  an  original  of  the  same 
size  as  the  engraving  in  the  possession  of  the  Trivulzi  family, 
Milan,  and  attributed  to  Leonardo.  A circular  medallion,  with 
head  and  bust  in  profile,  to  the  left.  The  diameter  of  the  circle 
is  2^  inches. 

The  plate  is  now  in  the  possession  of  Luigi  Bardi,  Florence. 

I.  Before  all  letters,  except  the  inscription  around  the  inside  of  the 
circle,  viz.,  in  unshaded,  uncial  capitals : XPS . REX . VENIT  . 
IN  . PACE  . ET  . DEVS  . HOMO  . FACTVS  . ESP  . + • Brit:  Mus. 

II.  The  same  as  I. ; but,  in  addition,  in  shaded  script,  close  underneath 
the  medallion  : Raph:  Morghen  sculp:  Brit:  Mus. ; Brera. 

III.  Same  as  II.;  but,  in  addition,  in  skeleton  script : 

L'  Originale  d' egual  grandezza  creduto  di  Leonardo, 
trovasi  nella  Galleria  de'  Fratelli  Trivulzio  a Milano 


Brit:  Mus.;  Brera. 


46  CATALOGUE  OF  PLATES. 

IV.  Same  as  III.  ; but  with  all  the  letters  of  the  inscription  below 
shaded.  The  letters  around  the  circle  were  never  shaded.  Brit: 
Mus. ; Brera;  F.R.H. 

53M'  Elci,  Count  Angelo  d\ 

Dimensions,  14^  x iof. 

Engraved  at  Florence,  1817,  in  dry  point  for  Count  d’Elci’s 
Satire , published  there  by  Piatti  in  the  same  year,  4to.  Several 
copies  of  the  book  were  printed  on  large  paper.  The  author  was 
born  at  Florence,  1764,  and  died  at  Vienna  November  20,  1824. 
He  was  of  a rich  and  noble  Tuscan  family,  and,  though  his  writings 
are  poor  in  point  of  style,  he  was  an  eminent  archaeologist,  and 
collected  one  of  the  richest  libraries  of  his  time  in  Europe,  most 
of  which,  on  his  death,  went  to  the  Laurentian  Library  in  his 
native  city.  The  portrait  is  a bust  in  profile,  to  the  left,  on  a blank 
background. 

Trial  proof.  “ Nearly  finished.”  Brassey  coll.,  Maskell. 

I.  “ Proof  before  all  letters.”  Brassey  coll.,  Masked. 

II.  In  unshaded,  traced  script:  Angelo  d’  Elci  Fiorentino  Raffaelle 
Morghen  incise  alia  punt  a secca  F.R.H. 

III.  Same  as  II.;  but  all  the  letters  shaded,  and,  in  addition,  the  two 
lines  : P an:  181J  in  attestato  di  stima,  e venerazione  D.D.D. 
Brit:  Mus. ; F.R.H. 

54.  Etruria , Book-Plate  for  the  King  of. 

Dimensions,  3§  x 3^. 

Engraved  at  Florence,  1804,  mostly  by  Raphael’s  brother 
Antonio. 

The  kingdom  of  Etruria  was  created  by  Napoleon  I.  in  1801, 
the  Grand  Duke  having  been  dispossessed  of  Tuscany.  The  title 
of  king  was  conferred  on  the  Bourbon,  Louis,  Duke  of  Parma,  of 
the  royal  house  of  Spain.  The  “ kingdom  ” ended  its  existence 
in  1808,  when  it  was  merged  into  the  Grand  Duchy  of  Tuscany, 
under  the  sovereignty  of  Elisa  Bonaparte  Bacciocchi,  Napoleon’s 
sister,  whose  portrait  Morghen  has  engraved.  See  No.  20. 


FANTONI,  GIOVANNI. 


47 


In  the  circular  medallion,  surmounted  by  a crown,  at  the  top, 
in  shaded  script,  on  a blank  background  : 

di 

S.  M.  il  Re 
d' 

Etruria 

On  the  tablet  below,  in  open,  uncial  capitals,  also  on  a blank 
background  : 

NIL  IN  VITA 
MINE  TV  A 

There  are  no  artists’  names  or  other  inscription.  Brit:  Mus.  ; 
F.R.H.,  with  Morghen’s  stamp. 

ggM*  Fantastici,  Fortunata  Sulgher.  Angelica 

Kauffman  pinx. 

Dimensions,  6f  x 4. 

Engraved  at  Florence,  1 794,  for  the  edition  of  this  Improvisa- 
trice s Poems,  published  at  Leghorn,  1794.  f face  to  the  right; 
draped  bust  and  head,  wearing  a jewelled  turban  ; in  an  oval. 

I.  “ Proof  before  all  leters,  with  the  artists’  names.”  Brassey  coll., 
Maskell. 

II.  In  shaded  script,  close  under  the  lower  border  of  the  oval:  Angelica 
Kauffman  pinxit.  — Raph:  Morghen  Sculp:  ijgp  In  traced, 
open,  uncial  capitals:  FORTUNATA  SULGHER  FANTASTICI  Brit: 
Mus.,  on  blue  and  on  plain  paper;  F.R.H. 

56%  Fantom,  Giovanni.  F.  Tenderini  pinx. 

Dimensions,  x 5-J. 

Engraved  at  Florence,  1822,  for  the  edition  of  the  author’s 
works  published  by  Giuseppe  Tofani,  Italia  [Firenze],  1823,  3 
vols.  large  8vo. 

A profile  head  turned  to  the  right  in  a circular  medallion, 
surmounted  by  a laurel  wreath  in  which  is  a harp.  A ribbon 
hangs  from  the  wreath  on  each  side  of  the  medallion. 


48 


CATALOGUE  OF  PLATES. 


Trial  proof.  The  head  and  the  wreath  above  in  outline  etching  only. 

The  horizontal  background  lines  engraved.  Before 
the  name  on  the  ribbon.  Brit:  Mus. 
do  Only  lacking  the  final  touches.  Still  before  the  inscrip- 

tion on  the  ribbon.  Brit:  Mus. 

I.  Before  all  letters,  with  the  name  on  the  ribbon.  Brit:  Mus. 

II.  In  small,  shaded  script,  close  under  the  medallion : Franciscus 
Tenderini pinxit. — Raph:  Morghen  Sculpsit  Brit:  Mus.;  F.R.H. 

III.  Same  as  II.;  but,  in  addition,  in  open  uncial  capitals: 

EFFIGIEM  . TV  SCI . HOF  A TII . ICO  NIC  AM 
RAPHAEL  . MORGHEN 
POSTERITATI . TRADEBAT 
AN  . M . DCCC  . XXII . 

F.R.H. 

y/M*  Ferdinand  III.,  Grand  Duke  of  Tus- 
cany. Dimensions,  I3f  x 8-f. 

Engraved  at  Florence,  1814,  for  the  Descrizione  dell ’ Apparato 
fatto  in  Firenze  etc.,  dalla  Reale  Academia  delle  Belle  Arti  etc., 
Firenze,  presso  Carli , 1814. 

The  reverse  of  the  medallion  was  engraved  by  A.  E.  Lapi 
on  the  same  plate,  and  was  designed  by  Palmerini,  Morghen’s 
biographer. 

Ferdinand  was  turned  out  of  his  dominions  by  Napoleon  in 
1801,  but  was  restored  in  1814. 

A profile  head  turned  to  the  right  in  a circular  medallion. 

The  only  state  known  is  as  follows  : 

Around  the  inside  of  the  medallion,  in  open,  uncial  capitals: 
FERDINANDVS'  III'  D'  G ' P ’ R ' H ' FT  ’ B ' A 'A  ' M ' D ' E TR  VR  * 
The  reverse  shows  the  Grand  Duke  seated  on  a throne  accom- 
panied by  four  draped  allegorical  female  figures.  Around  the  top 
of  this  medallion,  in  open,  uncial  capitals  : 

VIRTVTES  ' FOEDERA  TORVM  ' 

Between  the  obverse  and  reverse,  in  minute,  shaded  script: 
Raph.  Morghe?i  et  A:  E:  Lapi  Sculp : 


FERDINAND  III.,  OF  TUSCANY. 


49 


Below  these  two  sides  of  the  medallion,  in  shaded  and  engraved 
uncial  capitals : 

FERDINANDO  . Ill . M . E . D . 

FOEDERATORVM  . VICTORIA  . CONCORDIA  . IVSTITIA  . PACE 
ETRVRIAE  . REDDITO 

COLLEGIA  . ARTIVM  . QVAE  . AD  . GRAPHICEN  . MVSICEN 
DECLAMATIONEM  . OPIFICIA  . PERTINENT 
PEGMATA  . CVM  . STATVIS  . PICTVRIS  . ORNAMENTISQVE 
AERE  . PROPRIO  . LAETA  . POSVERE  . VT  . VETERA 
OPTIMI . PRINCIPIS  . ERG  A . PA  TRIAM  . MERITA 
SPESQVE  .NOVAS  . OMNIVM  . ANIMO  . CONCEPTAS 
IN  . MEDIUM  . PROFERRENT  . 

Brit:  Mus. ; F.R.H. 

58M'  The  Same.  G.  Ender  pinx. 

Dimensions,  14.%  x 10J. 

Engraved  at  Florence,  1821.  A -f  face  and  bust,  in  an  oval 
surrounded  by  a rectangle,  showing  a uniform  partially  covered  by 
a cloak.  There  are  conspicuous  bows  on  the  shoulders  and  at  the 
throat.  The  portrait  of  Maria  Ferdinanda  di  Sassonia,  No.  112, 
was  engraved  in  the  next  year  as  a companion  to  this. 

Morghen  began  two  plates  from  this  original.  The  first  was 
put  aside  after  four  impressions  of  the  outline  etching  were  printed. 
This  is  described  in  the  first  trial  proof  given  below.  In  the 
second  plate  the  face  is  nearly  but  not  quite  so  full. 

Trial  proof.  The  pure  outline  etching  without  the  rectangle.  Brit: 
Mus.  ; Brassey  coll.,  Maskell. 

The  second  plate  begins  with  : 

Trial  proof.  With  only  a few  marks  of  the  burin.  Brit:  Mus. 

do  Lacking  the  final  touches  only  and  before  the  rectangle. 

Brit:  Mus. 

I.  Before  all  letters  and  before  the  rectangle.  Brit:  Mus. ; Brassey  coll., 
Maskell. 

II.  Before  the  rectangle.  In  delicately  traced  script  close  under  lower 
margin  of  the  oval : Raffaelle  Morghen  incise  in  Firenze  1821. 
Brit:  Mus.  “ Two  impressions  were  made  in  this  state.”  Maskell. 


50 


CATALOGUE  OF  PLATES. 


III.  With  the  rectangle,  under  which  the  same  letters  appear  as  in  II. 

Brit:  Mus.,  plain  and  on  India. 

IV.  Same  as  III. ; but,  in  addition,  in  unshaded,  traced  script : Sua 

Altezza  Imperiale  e Reale  In  flourished,  open,  traced,  uncial 
capitals  : L’ARCIDUCA  ferdinando  III.  In  flourished,  open, 
traced,  Gothic  letters  : Granduca  di  Toscana  ec.  ec.  ec.  Brit:  Mus. ; 
F.R.H. 

V.  Same  as  IV. — i.  e.,  all  the  lettering  traced — but  with  the  addition 
of  the  following  dedication,  etc.,  in  unshaded  script : A Sua  Al- 
tezza I „ e R „ Maria  Ferdinanda  Principessa  di  Sassonia 
In  open,  uncial  capitals:  Granduchessa  di  Toscana  EC. 
EC . EC.  In  minute  script:  Luigi  Bardi  impresse — Raffaelle 
Morghen  D „ D „ D „ Brit:  Mus.;  F.R.H. 

VI.  Same  as  V. ; but  all  the  letters  shaded,  and  before  Raffaelle  Morghen 
incise  1821  is  added,  in  small,  shaded  script : Da  un  Acquarello  di 
Giovanni  Ender , on  the  same  line.  Grandi. 

VII.  The  retouched  plate.  To  the  inscription  is  added,  in  shaded  and 
engraved  script:  A spese  di  Luigi  Bardi  e C°  Bor  go  degli  Albizzi 
N°  4.60.  Brit:  Mus.  ; Brera. 


ffgM'  Ferdinand  IV.,  King  of  Naples  and 
Sicily. 

Dimensions,  4%  x 4-J. 

Engraved  at  Rome,  1789,  for  the  Elogio  Storico  di  Carlo  III. 
In  this  same  work  occur  the  portraits  of  Charles  III.  and  IV.,  also 
by  Morghen.  See  Nos.  35  and  37.  The  resemblance  of  this  plate 
with  No.  37,  the  portrait  of  Charles  IV.,  is  very  striking.  Both 
plates  are  now  owned  by  Luigi  Bardi,  Florence. 

“ Ferdinand  I.,  King  of  the  United  Kingdom  of  the  Two 
Sicilies,  was,  until  1817,  Ferdinand  IV.,  King  of  Naples  and  Sicily. 
He  was  born  at  Naples  in  1 75 1 , the  third  son  of  Don  Carlos,  King 
of  Naples,  afterwards  Charles  III.  of  Spain.  He  married,  in  1768, 
Maria  Carolina,  Archduchess  of  Austria,  daughter  of  Maria 
Theresa.  His  reign  was  tempestuous  and  embroiled.  It  is  of  this 
prince  that  the  story  is  told  that,  at  the  time  of  the  revolution  in 


FERDINAND  IV.,  OF  NAPLES  AND  SICILY. 


5i 


1820,  when  the  crowd  clamored  at  the  palace  and  demanded  a 
constitution,  he  replied  to  their  demand  : Oui,  mes  enfants,  vous 
aurez  une  constitution,  vous  en  aurez  meme  deux  si  vous  les 
voulez.”  Maskell. 

This  plate  is  a head-piece  to  page  V.  Under  it  are  printed 
five  lines  of  italics,  beginning  Sire  and  ending  no.  The  page  at 
the  back  is  a full  printed  page. 

The  only  state  known  is  as  follows  : 

In  the  lower  border  of  the  frame,  in  shaded,  uncial  capitals  : 
FERDINANDUS  IV  At  right  corner  below,  in  shaded  and  en- 
graved script:  Raph.  Morghen  sculp:  Brit:  Mus. ; Brera  ; F.R.H. 

6oM*  The  Same.  Francesco  Liani  pinx. 

Dimensions,  16J  x Ilf. 

Engraved  at  Naples,  1 777,  as  a companion  to  the  portrait  of 
Maria  Carolina,  No.  111.  Impressions  of  either  of  the  plates  de- 
scribed below  are  rare. 

Raphael  Morghen  has  here  used  the  same  plate  on  which  his 
father,  Filippo,  had  engraved  the  same  personage  at  a younger  age, 
some  seventeen  years  before.  Raphael  erased  this  head  and  re- 
engraved it  representing  the  king  at  a more  advanced  age. 

The  original  plate — by  Filippo  Morghen,  first  published  in  Le 
Antichita  di  Pozzuoli , Baja  e Cuma,  Napoli,  1 769,  large  oblong 
folio — represents  the  king  when  a youth,  in  an  oval,  half  length,  full 
face,  in  armor,  wearing  the  Golden  Fleece.  Around  the  border 
of  the  frame,  in  large,  shaded  capitals  : ferdinandvs  . iv.  dei  . gr  . 
vtrivsq.  sic . et  . eier  . rex.  On  the  top  stone  of  the  pedestal, 
in  shaded  script : Natus  Neapoli  die — XII.  Jan.  MDCCLI.  On 
the  stone  below,  in  shaded,  uncial  capitals  : quo  carolus— et 

AMALIA  HI  SPAN  . — REGES  IN  NATI  SUI — VVLTVS  ALA  C RI- 
TA te  absentes — exhilarentur.  On  the  lowest  stone,  in 

shaded,  print  characters  : Philippics  Morghen- — Effinxit  An. 
MDCCLX.  With  the  arms.  Brit:  Mus.,  also  on  blue  paper. 

In  the  Raphael  Morghen  plate  the  head  is  changed  to  repre- 
sent the  king  much  older.  The  lace  at  the  neck  is  altered,  and  the 
ribbon  of  the  Order  of  the  Fleece  is  made  narrower.  The  hair  fall- 


52 


CATALOGUE  OF  PLATES. 


ing  on  the  broader  ribbon  is  also  altered.  But  these  alterations 
have  been  so  cleverly  carried  out  that  they  would  probably  pass 
unnoticed  if  the  earlier  plate  were  not  so  well  known. 

This  plate  of  Raphael’s  first  appears  with  the  same  lettering 
as  described  above,  but  with  the  date  on  the  lowest  stone  changed 
to  MDCCLXXII.  Brit:  Mus.,  on  yellow  paper  ; Brera,  with  pen 
and  ink  inscription,  in  Raph.  Morghen’s  hand,  in  lower  right  corner  : 
Rajfaelle  Morghen  feci  in  Napoli  Stampa  rara  donata  al  amico 
Poggiali  dalT  Incisore. 

Raphael’s  plate  next  appears  with  the  inscription  on  the  low- 
est stone,  changed  to  : Eivsq.  Filivs  Raphael  Patrem  Aemvlatvs 
An.  MD CCLXXVII.  ad  Vivvm  Expressit.  Brit:  Mus.,  on  blue 
paper,  and  plain. 


6iM*  Filangiem,  Gaetano.  Steph.  Tofanelli  pinx. 

Dimensions,  io|  x . 

A private  plate,  engraved  at  Rome,  1786,  for  Filangieri’s 
family. 

This  great  Italian  publicist  was  born  at  Naples,  August  18, 
1752,  and  died,  after  a most  industrious  life,  July  21,  1788.  La 
Scienza  della  Legislazione , which  formed  his  main  labor  throughout 
his  life,  and  which  he  left  unfinished  by  his  early  death,  still  remains 
as  a monument  of  his  learning,  sound  judgment,  and  wide  range  of 
thought,  and  places  him  in  the  same  rank  with  Vico,  Beccaria,  and 
Montesquieu.  He  was  of  noble  descent,  being  the  third  son  of 
Cesar,  Prince  of  Arianello,  while  on  his  mother’s  side  he  was  con- 
nected with  the  ducal  house  of  Fragnito.  He  was  married  in  1783 
to  Carolina  von  Frendel,  an  Hungarian  lady.  He  is  here  repre- 
sented as  a very  young  man,  head  and  bust  looking  to  the  left, 
wearing  a military  uniform.  On  the  left  breast  of  the  coat  are  a 
star  and  two  other  decorations.  In  an  oval  surrounded  by  a rec- 
tangle. 

The  only  state  known  is  as  follows  : 

In  shaded  script,  at  lower  right  corner  of  rectangle  : Raph. 

Morghen  sculp.  In  open,  uncial  capitals  : Gaetano  Filan- 


FORNARl , THE  MARCHIONESS. 


53 


GIERI  In  heavy,  shaded  script:  De  Principi  di  Arianello,  nato 
il  1 8.  Agosto  Vanno  1J52  ; mor\  il  20.  Luglio  dell' anno  rj88. 

F.R.H. 

62.%  Fisionomie  Cognite.  Raff.  Sanzio  pinx. 

Dimensions,  15  x 10. 

Two  plates  of  outline  figures,  engraved  at  Rome,  1782  or  3, 
as  keys  to  Raphael’s  pictures  of  Pope  Leo  and  Attila,  and  of  Par- 
nassus. 

1.  Pope  Leo  and  Attila.  Inside  the  rectangle,  forming  a 

frame  : Effigies  Cognitae.  / Joannes  Cardlis  de  Medici  postea 
Leo  X.  2 Leo  X.  3 Petrus  Perusinus  4 Attila.  Under  the 
rectangle  : S.  Leo  Papa  primus  Attilae  Hunnorum  Regi  in  Italiam 
infensis  armis  ad  Urbis  excidium  festi,,  nanti  occurrit , majestate 

et  eloquio  ad  Mincium  sistit,  ac  specie  occulis  objeda  BB.  Petri  et 
Pauli  Apo,,  stolorum  districtis  in  eum  gladijs  minitantium , 
dimissis  animis  re  infedagressum  referre  cogit.  Brit:  Mus.,  signed 
in  pencil  : Raffe.  Morghen  scolpi  Brera. 

2.  Parnassus.  Effigies  cognitae  in  Montis  Parnassi  tabula 

depidae  sigillatim  propriis  nominibus  indicantur.  / Laura  2 

Petrarca  3 Dantes  4 Homerus  3 Virgilius  6 Tibal- 
deus  3 Boccacius  8 Sannazarus  9 Ovidius  10  ILora- 
tius  11  Pindarus.  Brit:  Mus.,  signed  in  pencil  : Raffe. 

Morghen  scolpi  Brera. 

6j.%  Fornari,  The  Marchioness  Co  stanza 

Raimondi  de  . S.  Panario  pinx. 

Dimensions,  iof  x 7f . 

Engraved  at  Florence,  1818,  for  the  Abbate  D.  Luigi  Martini. 
Palmerini  engraved  the  draperies  and  background,  regarding 
which  he  says : Fui  amichevole  mediator e presso  il  Cav.  Morghen 
per che,  lo  intagliasse , e si  contento  che  fossero  da  me  eseguite  le  vesti, 
ed  il  fondo , il  quale  e uscito  dall'  acquaforte  di  quella  forza  vellutata , 
come  lo  vedi , non  essendovi  di  bulino  che  le  inevitabili  attacature,  0 
riunioni  verso  la  figura,  cosa  chi  io  acceno,  perche  da  talunni  impu- 


54 


CATALOGUE  OF  PLATES. 


tata  di  sfacciato  ardimento.  This  was  engraved  as  a private  plate, 
and,  never  having  been  published,  is  rarely  met  with.  The  only 
two  impressions  known  to  the  writer  are  those  described  below. 
The  portrait  represents  an  old  lady,  half-length,  the  hair  entirely 
covered  by  a lace  cap,  which  extends  below  the  chin.  The  collar 
is  open,  and  a shawl  thrown  over  the  shoulders.  In  an  upright 
oval  without  a rectangle. 

I.  All  the  letters  faintly  traced.  In  minute  script : 5.  Panario  dis : in 
Genova  1815. — Raff0..  Morghen  inc  : in  Firenze  In  open,  uncial 
capitals:  costanza  fornari  In  skeleton  script : 

Senno  virile  ha  il  Cielo  a te  concesso 
Sensibil  alma  nobil  core , e schietto , 

Con  tutte  poi  le  grazie  del  tuo  sesso  ; 

E del  tao  sesso  senza  alcnn  difetto. 

In  open,  traced,  print  characters  : Pignotti  Brit:  Mus.,  in  pencil : 
Dono  dell' amico  Martini 

II.  The  artists’  names  remain  as  in  I.,  but  all  the  other  letters — except 
Pignotti — are  shaded.  F.R.H. 

64..%  “ Fornarina,  La .”  “ Raff.  Sanzio  ” pinx. 

Dimensions,  I2|-  x g. 

This  plate  was  begun  in  Florence,  i8o5,  and  finished  there, 
1814.  The  identity  of  the  portrait  is  entirely  unsettled.  It  is  very 
unlikely  that  it  represents  a mistress  of  Raphael,  and  it  is  well 
established  that  the  name  Fornarina — bakeress — was  never  known 
till  the  eighteenth  century,  and  that  it  could  never  have  applied  to 
the  original  of  this  portrait,  who  is  called  by  some  Vittoria  Colonna, 
by  others  the  Duchess  Elizabeta  d’Urbino,  or  Emilia  Pia,  or 
Beatrice  Pio  da  Ferrara.  The  person  referred  to  by  Vasari,  vol. 
VIII.,  pp.  35,  44,  45,  58,  is  probably  a different  woman.  See 
Passavant  I.,  183;  II.,  No.  95  ; III.,  p.  114. 

The  picture  in  the  Uffizi,  engraved  by  Morghen,  and  which  is 
very  unlike  the  others  of  the  so-called  Fornarina  in  the  Pitti, 
Barberini,  and  Sciarra  galleries,  is  by  several  claimed  to  be  by 
the  hand  of  Sebastiano  del  Piombo,  though  Passavant  denies  this. 


‘ ‘ FORNA RINA , LA." 


55 


It  is  certainly — whoever  was  its  original,  or  whoever  the  painter 
may  have  been — a splendid  work  of  art,  and  worthy  of  its  exalted 
position  among  the  masterpieces  in  the  Tribune.  It  is  a nearly 
half-length  figure,  with  the  head  two  thirds  turned  to  the  left,  and 
bent  slightly  forward.  In  the  hair  a slight  wreath,  and  an  ear- 
ring in  the  left  ear.  The  right  hand  reaches  across  to  grasp  a 
thick  fur  lying  on  the  left  shoulder.  The  low  waist  is  of  blue 
velvet. 

There  are  two  cleverly  executed  copies  of  this  plate  : one 
engraved  by  Samuele  Levi  Polacco  under  Galgano  Cipriani’s  direc- 
tion ; the  other  by  Antonio  Morghen,  Raphael’s  brother.  Impres  - 
sions of  these  plates,  if  before  all  letters,  may  easily  be  mistaken 
for  the  same  state  of  the  original  Raphael  Morghen  plate,  which 
last  is  now  in  the  possession  of  Luigi  Bardi,  Florence. 


Trial  proof. 


do 


do 


do 


do 


do 


The  background,  the  hair  at  the  back  of  the  head,  the 
cloak  and  fur  on  the  left  shoulder  partly  engraved ; 
the  rest  in  outline.  Brit:  Mus.,  below,  in  pencil  : 
Prova  unica  dopo  della  quale  rifeci  il  partito  de'  capelli 
dietro  l' or echio  [sic  for  orecchio\ . 

The  same  ; but,  in  addition,  the  hair  nearly  finished. 
Brit:  Mus.,  etched  in  lower  margin,  unica  prova,  after 
which,  in  pencil : R.  M. 

The  hand,  arm,  and  bodice  still  etched  in  outline 
only  ; the  throat  slightly  engraved  ; the  rest  nearly 
finished.  Brit:  Mus. 

The  hand,  arm,  and  bodice  still  etched  in  outline 
only  ; the  throat  slightly  engraved  ; the  rest  finished. 
Brera. 

The  arm,  to  the  middle  of  the  hand,  and  the  ruffle 
between  the  fur  and  the  flesh,  blank  ; also  the  string 
around  the  neck.  The  throat  still  unfinished.  The 
dotted  lines  on  the  shaded  half  of  the  hand  not 
crossed.  Brit:  Mus. 

Same  as  preceding,  but  with  the  ruffle  on  the  left 
shoulder  engraved.  Brit:  Mus. 


I.  “A  finished  proof  before  any  writing.”  Wilson,  No.  186. 

II.  In  shaded  script : Raph:  Sanctuis  pinxit — Petrus  Ermini  delin: 
Raph:  Morghen  sculp.  Flor:  In  open,  traced,  uncial  capitals : 

RAPHAELIS  AMICITIA  — CELEBERRIMA  In  smaller,  italicized, 


56 


CATALOGUE  OF  PLATES. 


open,  traced,  uncial  capitals : la  FORNARINA  With  the  arms. 
Brit:  Mus. ; Brera  ; F.R.H. 

III.  “A  proof  with  a dedication  to  General  Manfredini  ” is  mentioned 

in  the  Manfredini  catalogue,  and  there  called  “ unique.” 

IV.  Same  inscription  as  in  II. ; but  with  all  the  letters  shaded,  and,  in 

addition,  in  shaded  script : 

Johanni  Alexandria 
Liberalium.  Artium — Acad:  Praesidi 
et  R.  Pinacothecae — Flor:  Praefecto. 

In  smaller,  shaded  script:  Aloysius  Bar di  excudit — Raph:  Mor- 
ghen  D.D.D.  With  the  arms.  Brit:  Mus.,  on  India  and  plain. 


6j)M'  Fomanna , The  head  of  the  figure  in  the  trans- 
figuration called  La.  Raff.  Sanzio  pinx. 

Dimensions,  diameter  2-|. 

Engraved  at  Florence,  1806,  on  a circular  silver  medallion 
about  the  size  of  a silver  dollar,  as  an  experiment.  It  was  never 
finished,  and  after  a few  impressions  had  been  taken  the  plate  was 
presented  by  Morghen  to  the  Princess  of  Vintimiglia,  Duchess  of 
Alba. 

Trial  proof.  The  outline  etching  only.  Brit:  Mus. ; Frankfort,  1880, 
£2  8s. 

do  Some  dry-point  added  in  the  hair.  R.M.  lightly 
traced  below.  Brit:  Mus.,  two  impressions, 
do  The  hair  finished  in  dry-point.  Brit:  Mus. 

66M>  Francis  I.  of  Austria. 

Dimensions,  nf  x 9^. 

Engraved  at  Florence,  1819.  A head  and  bust  in  profile 
turned  to  the  left,  in  dry-point  on  a blank  background.  Francis 
II.,  born  r 768,  succeeded  his  father  as  Emperor  of  Germany  in 
1792.  In  1806  he  renounced  this  title  and  took  that  of  Francis  I., 
Emperor  of  Austria.  He  died  in  1835. 

I.  Before  all  letters.  Brit:  Mus. ; F.R.H. 


FULGER,  MAD  AM  A. 


57 


II.  “Proof  with  two  lines  in  traced  letters;  the  word  ‘Alla’  before 
‘ Maesta,’  and  an  entire  line  (the  third)  erased  on  the  impression. 
Not  in  B.  M.”  Brassey  coll.,  Masked. 

This  is  evidently  a mistake. 

III.  In  large,  shaded,  Gothic  letters:  Francesco  I.  In  shaded  script: 

Iniperator  d' Austria,  Re  d'Ungherict  e di  Boemia. 

In  small,  traced  script : Firenze , presso  Luigi  Bardi  e Comp: — 
Raff0.  Morghen  inc:  alia  punta  secca.  Brit:  Mus.;  F.R.H. 

IV.  “ Lettered  proof,  with  dedication  in  traced  letters.”  Brassey  coll., 

Masked. 

V.  Same  as  III.;  but  with  Imperator  corrected  to  Imperatore , and,  in 
addition,  the  following,  in  shaded  script : A sua  Eccz f il  Sig.  Conte 
Antonio  Appony  Commendatore  del  I.  Or  dine  di  Leopoldo  Gran- 
Croce  dell'  Or d:  di  S.  Giuseppe  di  Toscana  e di  quello  Const an- 
tiniano  di  Parma,  Ciamberlano  Consigliere  intimo  attuale  di  S.  M. 
I.  e R.  A.  e suo  Inviato  Straor dinar io,  e Ministro  Plenipotenziario 
presso  la  Corte  di  Toscana  e di  Lucca  Amantissimo  e Protettore 
delle  Belle  Arti  In  smaller,  shaded  script:  Raffaello  Morghen 
inc:  i8ig. — Luigi  Bardi  e Comp.  D.D.D.  In  print  characters: 
Firenze  presso  Luigi  Bardi  e Comp:  Brit:  Mus. 


6y%  Fulger,  Madama. 

Dimensions,  8J  x 5|. 

Engraved  at  Florence,  1794.  A half  length  of  a young  and 
pretty  woman  seated  in  a landscape,  in  a rectangle.  The  face  and 
figure  are  two  thirds  turned  to  the  left,  her  arms,  bare  to  the 
elbows,  crossed  in  her  lap.  She  holds  a book  in  her  left  hand 
with  the  thumb  between  the  leaves.  There  are  two  patches  on 
her  left  cheek,  and  her  hair  is  fancifully  dressed  in  curls.  This 
plate,  which  never  had  any  inscription  beyond  the  engraver’s 
name,  is  now  the  property  of  Luigi  Bardi,  Florence.  It  is  almost 
entirely  engraved  by  Galgano  Cipriani,  Morghen  having  done 
little  more  than  to  give  it  the  finishing  touches. 

I.  Before  all  letters.  Palmerini  states  that  there  were  very  few,  if  any, 
impressions  of  this  state  besides  the  one  in  his  possession.  Mr. 


58 


CATALOGUE  OF  PLATES. 


Maskell  mentions  one  in  the  Brassey  coll.,  but  this  may  be  the 
same  formerly  owned  by  Palmerini.  No  others  are  known. 

II.  In  shaded  script,  at  lower  right  corner : Raffaello  Morghen  inc.  F.R.H. 

68.  Gabriel , The  Archangel,  l.  Sabatelli  pinx. 

Dimensions,  i6f  x 12. 

Engraved  at  Florence,  1800,  in  the  matita,  or  crayon-drawing, 
manner,  and  is  the  only  plate  so  engraved  by  Morghen.  Even 
this  was  practically  entirely  the  work  of  A.  E.  Lapi,  in  1798. 
Morghen  went  over  it  and  gave  a few  finishing  touches,  and  it 
was  then  published  with  his  name  as  engraver.  An  oval  with 
head  and  winged  shoulders.  The  nimbus  is  a shell  surrounded  by 
a circle.  Three  quarter  face  to  the  right.  The  original  is  sup- 
posed to  have  moved  the  eyelids  in  a miraculous  manner  on  the 
30th  of  January,  1798. 

I.  Before  all  letters.  Brera,  printed  in  bistre. 

II.  The  artists’  names,  in  roughly  traced  script : L.  Sabatelli  del:  — R. 
Morghen  sculp:  close  under  the  oval.  In  large,  shaded  script : 
Immagine  dell'  Arcangiolo  S.  Gabbriello , In  smaller,  shaded 

script : che  si  venera  in  Firenze  nel  R.  Ritiro  delle  Ancille  della  SS: 
Incarnazione  d?  le  Montalve  in  Ripoli,  e che  si  rese  prodigiosa  pel 

Movimento  degl'  Occhi , il  di  jo  = Gennajo  ijg8.  Brit:  Mus.,  plain 
and  in  bistre ; Brera;  F.R.H. 

6<p.  Gallo , Visitmg  card  of  the  Marquis  di. 

A little  to  the  right  a rectangular  tablet  on  a monument,  in  a 
landscape.  Vesuvius  in  irruption  in  left  background.  In  left 
middle  foreground  a jetty  with  a light-house  at  its  end,  and  the 
mast  of  a ship.  On  left  foreground,  leaning  against  the  slab, 
Neptune,  or  a river-god,  full-length,  in  profile  facing  to  the  left, 
holding  a sceptre  in  his  right  hand,  his  left  arm  reposing  on  a 
barrel  from  which  water  is  flowing.  To  the  right  of  the  monument 
a Nereid,  full  figure,  erect,  facing  left,  and  holding  a cornucopia  in 
her  right  hand,  her  left  held  upwards.  Seated  on  the  monument  a 
cupid,  full-face,  holding  aloft  a fleur-de-lys  in  his  right  hand,  his 


GERMANICUS,  ILLUSTRATIONS  TO.  59 

left  arm  resting  on  the  shoulder  of  an  eagle  with  outspread  wings. 
A tree  to  the  left  and  to  the  right  of  the  monument. 

In  uncial  capitals  on  the  tablet : 

LE  MARQUIS  DE  GALLO 
MINIS  TRE  PLENIPO  TENre 
DE  SA  MAIEStL  LE  ROI 
DES  DEUX  SICILES 

At  lower  left  corner,  in  script : Raph:  Morghen  fecit. 

Dresden  Gall.,  the  only  impression  known. 


JO.  Game  of  Ball.  II  Giuoco  del  Pallone. 
Paume. 


Dimensions,  26J,-  x 17^. 


Le  Jeu  de 


Engraved  at  Naples,  1773,  from  life.  The  game  is  a cross 
between  court  tennis  and  fives.  The  ball  is  served  and  returned 
by  the  hand  covered  with  a wicker-work.  There  is  a court  in 
Bologna  where  the  game  is  played  at  the  present  time.  The 
match  represented  in  this  plate  is  one  which  took  place  in  the 
court  adjoining  the  royal  palace  at  Naples,  at  which  the  king  and 
queen  were  present  in  the  royal  box,  large  crowds  looking  on, 
and  even  climbing  to  the  house-tops. 

It  is  difficult  to  perceive  any  particular  merit  in  the  engrav- 
ing, though  Palmerini  says  of  it : Nel  ijj 3 di  ordinazione  di  D. 
Marco  Ottobnoni  degla  famiglia  Buoncampagni , incise  il  giuoco  del 
pallone  al  largo  del  castello  di  Napoli , ove  si  vede  spettatrice  la  Corte  ; 
stampa  in  foglio  con  moltissime  figure , e di  una  fatica  grande  in 
riguardo  all'  eta  dell'  artefice , ma  di  egli  condusse  a ter  mine  con 
molta  prestezza  e felicita. 

The  only  impression  known  to  the  writer  is  that  in  the  Brit: 
Mus.,  which  is  without  any  letters. 


ji . Germanicus,  Four  illustrations  relating  to 
the  history  of. 

Dimensions,  7f  x 5f. 

Engraved  at  Rome,  1780,  for  the  History  of  Germanicus,  by 


6o 


CATALOGUE  OF  PLATES. 


Grand-Jean  Orlandese.  The  plates  were  removed  as  soon  as 
finished  to  Holland. 

The  British  Museum  possesses  a set  of  these  four  illustrations 
with  the  artists’  names,  and  besides  an  impression  of  j before  all 
letters. 

/.  Germanicus  among  the  lictors  addressing  his  soldiers. 

2.  Germanicus  invested  with  the  imperial  mantle  and  sceptre, 
surrounded  by  his  soldiers. 

3.  Germanicus  taking  leave  of  Agrippina. 

4.  Another  subject  from  the  same  history. 

72.  Germanicus , The  marriage  of,  with  Agrip- 
pina. Domenichino  del  Frate  delin. 

Dimensions,  12^  x gj. 

Two  plates.  Engraved  at  Rome,  1781,  for  Componime7iti  per 
le  Nozze  del  Conte  Sanvitale,  e della  Principessa,  D.  Luisa  Gon- 
zaga,  nella  Stamperia  Reale , Parma,  1787,  4to,  edited  by  Giuseppe 
Pezzana. 

7.  Germanicus  and  Agrippina  are  led  by  a cupid  toward  an 
altar  on  which  a cupid,  who  has  preceded  them,  extinguishes  a 
flaming  torch.  Germanicus  points  with  his  right  hand  to  a statue 
of  Juno  in  a niche  in  the  background.  In  front  of  the  pair  is  a 
winged  cupid  holding  a bow  in  his  left  hand,  and,  with  right,  draw- 
ing Agrippina  toward  the  altar.  A portion  of  two  female  draped 
figures  is  seen  in  the  background,  behind  Agrippina. 

In  shaded  script:  Domus  Delfrate  Inv:  et  delin. — Raph:  Mor- 
ghen  Sculp:  In  shaded  script : Le  Nozze  di  Germanico , e di 

Agrippina.  In  large,  rough,  print  characters  : Nuptice plence  dig- 
nitatis, plence  concordice. 

Brit:  Mus. ; Brera,  at  lower  left  corner,  in  pen  and  ink  : Questo 
ramo  fu  fatto  per  il  libro  : Componimenti  per  le  nozze  del  co  : San- 
vitale, e la  Principessa  D.  Luisa  Gonzaga.  Parma , Stamperia 
Reale  1787,  in  Brassey  coll.,  Maskell,  “ with  autograph  in 
pencil,  privato  e rarissimo  ” ; F.R.H. 


GOLDONI , CARLO. 


61 


2.  Title-page  vignette,  representing  a genius  bearing  the  arms 
of  San  Vitali  and  Gonzaga. 

Dimensions,  3^  x 3^. 

There  is  no  lettering.  Brit:  Mus. 

7 3 M'  Goldoni , Carlo.  Antonio  Fedi  dis. 

Dimensions,  10 J x 7J. 

Engraved  at  Florence,  1822,  for  the  edition  of  his  works  pub- 
lished at  Prato,  by  the  Giachetti  brothers,  1819-21,  5o  vols.,  small 
8vo.  Much  of  the  work  on  this  plate  was  done  by  Giuseppe 
Calendi. 

Head  and  face,  bust  turned  to  the  right,  and  looking  toward 
the  spectator,  in  an  oval  without  a rectangle,  wearing  a wig. 

Carlo  Goldoni,  “ the  most  illustrious  of  the  Italian  comedy- 
writers,  and  the  real  founder  of  Italian  comedy,”  was  born  at 
Venice,  1707.  He  first  tried  tragical  compositions;  but,  soon 
finding  his  natural  bent,  became  the  most  popular  writer  of  come- 
dies of  his  day — not  only  in  Italy,  but  also  in  France.  His  life,  till 
his  eighty-seventh  year,  as  described  by  himself  in  his  Memoires, 
is  most  interesting,  but  shows  him  in  his  lighter  character.  After 
several  vicissitudes,  he  died  February  6,  1793,  in  great  want,  just 
as  the  Convention,  at  the  request  of  Andre  Chenier,  had  resolved 
to  allow  him  the  continuation  of  the  pension  of  1,200  francs 
formerly  allowed  him  by  the  king.  A modified  pension  was 
granted  for  his  widow. 

I.  “ Proof  before  all  letters,  extremely  rare.”  Brassey  coll.,  Maskell. 

II.  In  minute,  shaded  script,  close  under  the  oval : Antonio  Fedi  disegnb 
— Rajfaello  Morghen  inc:  In  open,  traced,  uncial  capitals: 

Carlo  Goldoni  Brit:  Mus.;  F.R.H. 

III.  Same  as  preceding,  but  all  the  letters  shaded.  Brit:  Mus. 

j/j.d-1'  The  Same.  Emidio  Cateni  dis. 

Dimensions,  9 x 6f. 

A smaller  portrait.  Engraved  at  Florence,  1822.  Head  and 
bust  from  the  same  original  as  No.  73.  The  background  blank. 


62 


CATALOGUE  OF  PLATES. 


Maskell  says  : “ This  was  inserted  in  the  works  of  Goldoni,  edition 
1819.”  But  there  seems  to  be  no  such  edition,  and,  moreover,  the 
plate  had  not  then  been  engraved. 

Trial  proof.  “Proof  in  outline.  Not  in  B.  M.”  Brassey  coll., 
Maskell. 

I.  Close  under  the  bust,  in  minute,  shaded  script : Emidio  Cateni  dis  : — 
Raff:  Morghen  inc:  Brit:  Mus. 

II.  Artists’  names  as  in  I.;  but,  in  additiorf,  in  shaded  and  flourished, 
uncial  capitals  : Carlo  Goldoni  F.R.H. 

75M'  Guicciardini , Francesco. 

Dimensions,  8f  x 6. 

Engraved  at  Florence,  1819,  for  the  edition  of  “ Della  Storia 
d’ltalia,  Libri  XX.,”  published  by  Niccolo  Capurro,  Pisa,  1822-4, 
10  vols.  4to.  This  work  contains  6]  portraits,  the  others  being 
outlines  by  Lasinio  from  originals  in  the  Medici  Gallery.  Pal- 
merini  thus  characterizes  this  edition  : L 'edizione  della  sua  Storia 

d ' Italia  in  ffo.  procurata  ed  a miglior  lezione  ridotta  dal  Professore 
Gio.  Rosini  di  Pisa , con  quel  lusso  tipografico  proprio  della  maggior 
parte  delle  edizioni  da  esso  dirette. 

A bust,  -|  face,  turned  to  the  right,  in  an  oval  surrounded  by 
a rectangle.  The  hair  and  all  of  the  ear,  except  the  lobe,  are  cov- 
ered by  a cap.  The  dress  is  plain,  but  with  fur  trimming. 

Francesco  Guicciardini,  the  celebrated  Italian  historian  and 
statesman,  was  born  at  Florence,  1483,  of  an  illustrious  and  noble 
family.  He  died  1540.  “ Guicciardini  was  the  product  of  a cynical 

and  selfish  age,  and  his  life  illustrated  its  sordid  influences.  Of  a cold 
and  worldly  temperament,  devoid  of  passion,  blameless  in  his  con- 
duct as  the  father  of  a family,  faithful  as  the  servant  of  his  papal 
patrons,  severe  in  the  administration  of  the  provinces  committed  to 
his  charge  and  indisputably  able  in  his  conduct  of  affairs,  he  was  at 
the  same  time,  and  in  spite  of  these  qualities,  a man  whose  moral 
nature  inspires  a sentiment  of  liveliest  repugnance.  . . . His 

phlegmatic  and  persistent  egotism,  his  sacrifice  of  truth  and  honor 
to  self-interest,  his  acquiescence  in  the  worst  conditions  of  the 
world  if  only  he  could  use  them  for  his  own  advantage,  combined 


GUICCIARDINI , FRANCESCO. 


63 


with  the  glaring  discord  between  his  opinions  and  his  practice, 
form  a character  which  would  be  contemptible  in  our  eyes  were  it 
not  so  sinister.  ...  If  one  single  treatise  of  that  century 
should  be  chosen  to  represent  the  spirit  of  the  Italian  people  in  the 
last  phase  of  the  renaissance,  the  historian  might  hesitate  between 
the  Principe  of  Macchiavelli  and  the  RicorcLi  Politici  of  Guicciar- 
dini. The  latter  is  perhaps  preferable  on  the  score  of  comprehen- 
siveness. It  is,  moreover,  more  exactly  adequate  to  the  actual 
situation,  for  the  Principe  has  a divine  spark  of  patriotism  yet 
lingering  in  the  cinders  of  its  frigid  science,  an  idealistic  enthusiasm 
surviving  in  its  moral  aberrations  ; whereas  a great  Italian  critic  of 
this  decade  has  justly  described  the  Ricordi  as  ‘ Italian  corruption 
codified  and  elevated  to  a rule  of  life.’  ...  The  Storia  d’ Italia 
was  undoubtedly  the  greatest  historical  work  that  had  appeared 
since  the  beginning  of  the  modern  era.  It  remains  the  most  solid 
monument  of  the  Italian  reason  in  the  sixteenth  century,  the  final 
triumph  of  that  Florentine  school  of  philosophical  historians  which 
numbered  Macchiavelli  and  Vettori,  Segui,  Pitti,  Nardi,  Varchi,  and 
Gianotti.” — J.  A.  Symonds. 

The  10  vols.  of  Opere  Inedite , published  at  Florence,  1 857, 
complete  Guicciardini’s  works. 

Trial  proof.  The  pure  outline  etching  of  the  oval.  Brit:  Mus.  ; 
F.R.H. 

do  The  entire  oval  partly  engraved  with  dry-point,  but 

unfinished  throughout.  Brit:  Mus. 
do  The  oval  lacking  the  final  touches  only  in  all  parts. 

Brit:  Mus. 

I.  Before  the  rectangle  and  before  all  letters.  Brit:  Mus.,  on  India 
and  plain. 

II.  Still  before  the  rectangle,  close  to  lower  border  of  the  oval,  in  minute 
script : Raffaello  Morghen  inc:  Van.  1819.  Brit:  Mus. 

III.  Still  before  the  rectangle.  Same  as  II.;  but,  in  addition,  in  open, 

traced,  flourished  uncial  capitals : FRANCESCO  GUICCIARDINI 

Brit:  Mus.;  F.R.H. 

IV.  Still  before  the  rectangle.  Same  lettering  as  in  III. ; but  all  the 

letters  shaded.  Brit:  Mus. 


64  CATALOGUE  OF  PLATES. 

V.  With  the  rectangle.  All  previous  lettering  erased  and  re-engraved 
as  follows  : In  the  centre,  at  lower  border  of  rectangle,  in  minute, 

shaded  script : Raffaelle  Morghen  incise  In  large  cursive  letters : 
Francesco  Guicciardini  In  minute,  traced  italics  : Firenze  presso 
Luigi  Bardi  e Compagno.  Brit:  Mus. ; F.R.H. 


76.  Hercitles  as  an  Infant.  “Tofanelli”  delin. 

Engraved  at  Rome,  1793,  from  an  antique  statue,  but  not  by 
Morghen,  who  declared  it  to  be  an  imposture.  Tofanelli  also 
denied  having  drawn  it,  though  both  these  artists’  names  appear 
on  the  plate  : Stefano  Tofanelli  deline'o  1793. — Raff-  Morghen  inc. 
in  Roma.  On  the  pedestal  of  the  statue  is  : Heros  Aventinus  in 
Capitolio. 

77%  Herzan,  Cardinal.  Ant.  Maron  pinx. 

Dimensions  of  engraved  portion  of  the  plate,  5 x 7f . 

Engraved  at  Rome,  1786,  by  Ottaviani  and  Morghen,  the 
latter  doing  but  little  of  the  work.  It  was  never  finished. 

A half-length  figure,  in  cardinal’s  dress,  seated  at  a table,  on 
which  he  is  leaning  with  both  arms  and  looking  upwards  towards 
his  right. 

The  only  impression  known  is  as  follows  : 

Trial  proof.  The  outline  etching  only.  Close  under  the  rectangle, 
in  faint,  etched  letters,  in  the  centre  : R.  Morghen 
inc.  Again,  at  lower  right  corner  : R.  Morghen  inc. 
Brit:  Mus. 


78.  Holy  Family.  La  Sacra  Famiglia  di 
Rubens.  P.  P.  Rubens  pinx. 

Dimensions,  21J  x 13^. 

Engraved  at  Rome,  1786.  Only  the  head  of  the  Virgin,  the 
Child,  and  the  linen  drapery  are  by  Morghen  ; the  rest  is  by 
Giovanni  Folo.  The  Virgin  seated  holds  the  sleeping  Child  on 
her  knees.  With  her  right  hand  she  touches  the  cradle,  also  on 


ISIS,  THE  STATUE  OF. 


65 


her  right.  St.  Joseph,  leaning  on  the  head  of  the  cradle,  points 
to  it  while  he  looks  toward  the  Saviour.  An  architectural  back- 
ground. On  the  right  a balustrade  and  landscape. 

I.  Before  all  letters.  Grandi. 

II.  In  shaded  script:  Pet.  Paulus  Rubens  pinx \ — Petrus  Angeletti  del\ — 
Raphe!  Morghen  sculps  Romce.  Brit:  Mus. 

III.  The  retouched  plate.  A fold  of  drapery  on  the  thigh  of  the  Child 
has  been  clumsily  added.  This  was  done  at  Rome.  Same  as 
II.;  but,  in  addition,  in  shaded  uncials:  Ego  dormio  et  Cor  meum 
vigilat  In  smaller  letters:  Cantic.  cap.  V.ver.2  In  shaded 
script : Ricavato  del  quadro  originale  esistente  nella  Galleria  di 
S.  E.  Milord  Clive  in  Londra.  Brit:  Mus. 


ygM*  Ingkirami,  T ommaso . Raff.  Sanzio  pinx. 

Dimensions,  11-^  x 8-§-. 

Inghirami  was  born  at  Volterra,  1470;  died,  1 5 1 6.  He  owed 
his  fortune  to  Lorenzo  de’Medici,  and  was  highly  honored  by  the 
Popes  Alexander  VI.,  Julius  II.,  and  Leo  X.  He  would  have 
doubtless  been  raised  to  the  rank  of  Cardinal  but  for  his  sudden 
death  at  the  age  of  forty-six.  He  was  an  accomplished  orator, 
scholar,  and  preacher,  and  wrote  a quantity  of  very  moderate 
Latin  verses. 

A bust  nearly  full  face  turned  slightly  to  the  left,  with 
upraised  head,  seated  at  a table,  writing.  From  the  original  in 
the  Pitti  Palace,  Florence. 

This  plate  was  never  finished.  The  only  state  known  is  ; 

Trial  proof.  The  outline  etching  only,  with  Raff.  Morghen  twice  in 
faintly  traced  letters.  Brassey  coll.,  Maskell. 


80.  Isis,  The  Statue  of. 

Engraved  at  Naples,  1773,  f°r  a work  on  Herculaneum,  in 
which,  however,  it  was  never  published. 

No  impression  is  known. 


66 


CATALOGUE  OF  PLATES. 


8 1 . Jupiter  zTLgiacus,  The  Head  of. 

Dimensions,  i6f  x 13. 

Engraved  at  Rome,  1789,  from  an  antique  cameo,  discovered 
at  Ephesus,  and  in  the  possession  of  the  Venetian  Senator 
Giuliani.  This  cameo  was  carried  off  to  Paris  by  Napoleon  for 
the  famous  Musee  Frangais,  but  was  returned  after  Napoleon’s 
downfall  in  i8i5.  A head,  full  face,  in  a circular  medallion, 
diameter  2-|  in.  The  plate  was  said  to  have  been  destroyed  ; 
but  this  is  a mistake,  as  it  formed  part  of  the  Calcografia  Mor- 
gheniana  which  passed  into  the  possession  of  G.  Snell,  and  it  is 
now  owned  by  Luigi  Bardi,  Florence.  It  was  engraved  for  Osserva- 
zioni  sopra  un  antico  cammeo,  rappresentante  Giove  Egioco , by 
the  learned  antiquary  Ennio  Quirino  Visconti,  Padova,  1793,  4to. 
There  is  an  excellent  copy  by  Rosaspina. 

I.  Before  all  letters.  Brit:  Mus. 

II.  In  shaded  script : Bon.  Salesa  del. — Raph.  Morghen  sculp.  In  large, 
shaded  script : Juppiter  Aegiocus  Epliesi  nuper  effosus  [sic] 

Ex  tat 

Apud  Hieronymum  Equitem  Zulianum  [sic] 
Patricium  Venetum 

Brit:  Mus. 

III.  The  same  as  II.,  except  that  Zulianum  is  corrected  to  Julianum. 

Brera;  F.R.H. 

IV.  The  same  as  III.,  but  with  both  corrections,  viz. : effossus  and 

Julianum.  Brera,  on  vellum  ; F.R.H. 


82.  J u risprudence.  Raff.  Sanzio  pinx. 

Dimensions,  2sf  x 17J. 

Engraved  at  Rome,  1782,  after  the  celebrated  fresco  in  the 
Camera  della  Segnatura  in  the  Vatican.  Passavant  II.,  68.  The 
three  other  compositions  of  Raphael  painted  in  the  Stanze  of  this 
hall  are  The  Dispute  on  the  Holy  Sacrament,  The  School  of 
Athens,  and  Parnassus,  and  these,  except  Parnassus,  have  been 
engraved  uniformly  with  this  by  Morghen’s  father-in-law,  Volpato. 
This  composition  shows  three  allegorical  figures  : the  central  one 


JUSTICE. 


67 


seated  above  and  between  the  others  represents  Jurisprudence, 
two-faced,  one  face  a woman’s,  the  other  an  old  man’s,  indicating 
knowledge  of  the  past.  The  cupid  in  front  of  her,  holding  up  a 
mirror,  into  which  she  looks,  is  emblematic  of  reflection  ; the  one 
behind  her,  holding  a torch,  of  clear  perception.  The  allegorical 
figures  on  each  side  represent,  the  one  on  the  left,  Fortitude,  in 
armor,  one  hand  holding  an  oak-branch,  the  other  restraining  a 
lion  ; the  second,  on  the  right,  Temperance,  holding  up  with  both 
hands  the  symbol  of  a bridle.  There  are  five  cupids. 

This  was  the  first  plate  engraved  by  Morghen  after  his 
marriage  with  Domenica  Volpato. 

Trial  proof.  The  architectural  portions  almost  finished.  The  back- 
ground blank.  The  figures  with  very  little  engraving. 
The  large  uncial  capitals  in  the  upper  corners  are 
unshaded.  Brit:  Mus. 

I.  Before  all  letters.  Grandi. 

II.  In  shaded,  engraved  script : Steph.  Tofanelli deline. — Raph.  Morghen 
sculpsit.  Johan.  Volpato  direxit  Brit:  Mus.  ; Brera. 

III.  Same  as  II.  ; but  with  the  addition  of  the  following  dedication,  in 

very  large,  uncial  capitals,  shaded  : PIO  SEXTO  PONT.  max.  In 
smaller  uncial,  shaded  capitals:  JOANNES  VOLPATO  n.  D.  D.  IX. 
Brit:  Mus.  ; Brera. 

IV.  Same  as  III.;  but  after  Johan.  Volpato  direxit  add  in  another  line, 

in  same  shaded  script : et  vendit  Roinae.  Grandi. 

V.  The  retouched  plate,  on  modern  paper. 


83.  Justice.  Raff.  Sanzio  pinx. 

Dimensions,  i6f  x 15^. 

Engraved  at  Rome,  1782,  after  the  original  fresco  in  the 
Camera  della  Segnatura  above  the  lunette  of  Jurisprudence,  No. 
82.  A draped  female  figure  seated  on  clouds  holds  a sword  aloft 
in  her  right  hand  and  in  her  left  a balance.  On  each  side  are  two 
cupids  upholding  a tablet.  The  drawing  of  all  the  figures  appears 
defective,  e.  g.,  the  disparity  in  size  of  the  hands  of  the  central 
figure,  and  between  the  size  from  the  waist  up  compared  with  the 


68 


CATALOGUE  OF  PLATES . 


lower  portion  ; the  boys’  necks  seem  too  short.  It  must  be  re- 
membered that  these  figures  were  placed  on  the  ceiling  above  the 
spectator.  This  circle  is  a companion  to  Philosophy,  Poetry,  and 
Theology. 

The  plate,  so  retouched  as  to  be  practically  a new  engraving, 
is  now  in  the  possession  of  the  Calcografia  Camerale,  at  Rome. 
Trial  proof.  With  very  little  graver-work.  Brera. 

I.  Before  all  letters.  Brit:  Mus. ; Brera  ; F.R.H.  Impressions  of  this 
state  are  rare. 

II.  In  shaded  script : Raph.  Sanctius  Pinxit — Bernardinus  Nocchi  del. — 
Raph.  Morghen  Sculp.  jfoh.  Volpato  direxit  et  Vendit  Romae. 
Brit:  Mus. 

III.  Same  as  II.;  but,  in  addition,  in  large,  shaded,  uncial  capitals: 

JUSTITLA  and  in  engraved  and  shaded  script,  below:  Picta  in 
formice  imntinet  tabidae  ( vulgo ) la  Giurisprudenza.  Brera. 

IV.  So  retouched  as  to  be  practically  re-engraved  throughout.  Same 

lettering  as  III. ; except  that  et  Vendit  Romae  is  erased  ; and  there 
is  added  below,  in  small,  shaded  script : Roma,  presso  la  Calcografia 
Camerale.  Keppel.  Impressions  in  this  state  make  an  effective 
apppearance,  but  there  is  very  little  resemblance  to  the  early 
impressions  of  the  Morghen  engraving. 

84..  Last  Slipper,  The.  LaCena.  Leonardo  da  Vinci 

pinx. 

Dimensions,  37  x 20f. 

Engraved  at  Florence,  1800,  from  a drawing  made  from  the 
original,  by  Teodoro  Matteini,  whom  the  Grand-Duke  Ferdinand 
III.  sent  to  Milan  for  that  purpose. 

The  original,  in  oil,  not  fresco,  twenty-eight  feet  long,  was 
painted  on  the  wall  of  the  Refectory  of  the  Dominican  monks  in 
the  monastery  of  Santa  Maria  delle  Grazie,  Milan,  beginning  in 
the  year  1488,  and  continuing  upwards  of  ten  years.  This  master- 
piece of  art,  “ perhaps  better  known  than  any  other  in  the  world,” 
seems  from  the  first  to  have  been  treated  with  the  greatest  neglect 
and  shamefully  abused.  Armenini,  who  saw  it  fifty  years  after  its 


LAST  SUPPER,  THE. 


69 


completion,  pronounced  it  already  half  decayed  ; and  Scanelli,  on 
examining  it  in  1642,  found  it  so  dimmed  and  defaced  that  the 
expressions  had  almost  disappeared  from  the  faces.  In  1726, 
Belotti,  with  the  most  laudable  intention,  was  commissioned  to 
restore  it,  and,  in  doing  so,  practically  repainted  the  entire  work. 
This,  with  the  other  various  restorations  and  re-touchings,  received 
material  assistance  in  the  work  of  destruction  from  the  French 
soldiers  who  occupied  Milan  under  Napoleon,  as  also  from  the 
Austrians.  As  a climax,  a door-way  was  cut  through  the  wall  in 
the  middle  of  the  composition.  The  result  is  that  the  painting  is 
now  almost  obliterated — “ a pitiable  ruin  of  a noble  monument.” 

For  a full  description  and  criticism  of  this  picture,  see  the  re- 
view by  Goethe  of  Giuseppe  Bossi’s  Del  Cenacolo  di  Leonardo  da 
Vinci , libri  IV.,  Milano,  1810,  folio,  with  7 plates.  Professor 
Sydney  Colvin  says  : “ Goethe,  in  his  famous  criticism,  has  said  all 
that  needs  to  be  said  of  the  essential  character  of  the  work.”  In 
this  masterpiece  of  art  criticism,  Goethe  makes  the  original  live 
again.  It  is  well,  however,  to  read  Bossi’s  essay  and  the  three  fol- 
lowing pamphlets  which  the  latter’s  criticism  called  forth  : Osser- 
vazioni  del  conte  Senator e Carlo  Verri  sul  volume  del  Cenacolo,  etc., 
scritte  per  lume  de  giovanni  studiosi  del  disegno  e della  pittura, 
Milano,  1812,  1 vol.  8vo.  ; Postille  alle  osservazioni  del  Verri  sid 
volume  del  Cenacolo,  Milano,  1812  ; and  Lettere  confidenziali  di  B. 
S.  all  estensore  delle  postille  alle  osservazione  sid  Cenacolo , Milano, 
1812,  8vo.  The  article  by  Goethe  above  referred  to  is  to  be  found 
in  any  complete  edition  of  Goethe’s  Works,  e.  g.,  Sammtliche 
Werke,  in  dreisig  Banden,  XXVtf:r  Band,  Stuttgart,  J.  G.  Cotta’scher 
Verlag,  1 858. 

Every  material  applicable  to  such  a purpose  has  been  used  in 
multiplying  copies.  One  of  the  earliest,  and  probably  the  best,  is 
that  now  in  the  Royal  Academy,  London,  painted  by  Marco  d’ 
Uggione,  which  has  of  late  been  closely  studied  by  M.  Ferd. 
Gaillard  with  a view  to  making  an  engraving  which  we  hope  to  see 
successfully  finished  within  a decade. 

As  to  Morghen’s  plate,  its  consummate  skill,  technical  judg- 
ment, delicate  treatment,  and  artistic  merit  combine  to  make  it  his 


70 


CATALOGUE  OF  PLATES. 


masterpiece — with,  possibly,  the  exception  of  his  second  plate  of 
the  Transfiguration, — and  it  is  very  doubtful  if  any  other  engraver 
has  ever  produced  its  equal.  In  the  present  universal  decline — 
almost  the  extinction — of  the  art  there  seems  to  be  but  little  ground 
for  the  hope  of  any  brilliant  engraving  in  line  of  this  subject  or  any 
other  subject  for  a long  time  to  come  ; and  future  generations  will 
probably  be  contented  with  chromographs,  photogravures,  and 
other  mechanical  processes  for  the  popularization  of  art. 

Morghen’s  plate  is  now  owned  by  Luigi  Bardi,  Florence. 

Though  copies  of  the  Morghen  plate  have  been  frequently 
attempted  in  every  kind  of  engraving,  it  is  most  gratifying  to 
be  able  to  name  as  the  best  that  made  by  an  American — 
Mr.  Charles  Burt,  of  Brooklyn,  New  York.  This  is  in  line 
throughout,  and  though  it  bears  Mr.  Dick’s  name  as  engraver, 
was  in  reality  only  engraved  for  him,  entirely  by  Mr.  Burt.  In 
a personal  letter  to  the  writer,  dated  Brooklyn,  March  io,  1884, 
Mr.  Burt  says  : “In  regard  to  the  engraving  of  the  Last  Sup- 
per, which  bears  Mr.  Dick’s  name,  I can  only  say  that  he 
never  touched  it.  It  was  my  own  work  from  beginning  to 
end,  and  was  in  my  hands,  off  and  on,  for  a period  of  three 
years.  In  1845,  when  it  was  completed,  I had  just  entered  my 
twenty-fourth  year.  I began  it  from  a retouched  proof  of  Mor- 
ghen’s engraving  then  in  possession  of  the  Brevoort  family. 
When  nearly  completed  I was  greatly  assisted  by  an  early  proof 
of  ‘ Morghen,’  obtained  for  me  by  Mr.  Dick,  but  from  whom  I 
know  not.  On  examining  the  Morghen  engraving  you  will  per- 
ceive a sameness  throughout  the  lining.  This  I ventured  to 
change  in  some  parts,  but  being  so  young  and  inexperienced,  I did 
not  dare  to  venture  too  far.  The  character  of  the  lining  in  the 
face  of  Christ  is  somewhat  different  from  the  ‘ Morghen,’  and  I am 
vain  enough  to  think  it  an  improvement.  Other  parts  I changed, 
but  they  are  of  minor  importance.”  Mr.  Burt’s  plate  remains  to- 
day the  finest  specimen  of  line  engraving  yet  produced  in  this 
country.  The  minute  copy  engraved  by  Worthington  for  Picker- 
ing’s Nov.  Test.  Greecum , 1826  (printed  from  the  Elzevier,  1624)  is 
worthy  of  notice. 


LAST  SUPPER,  THE. 


7i 


Trial  proof.  The  outline  etching,  with  some  dry-point  work  on  the 
hair  of  all  the  heads,  the  floor,  and  the  legs  of  the 
table.  Brit:  Mus. 

do  The  sky  seen  through  the  left  window  and  through  the 

door,  the  table-cloth,  portions  of  all  the  figures — 
except  Judas — and  all  the  dishes  are  blank.  Judas’ 
head,  the  first  on  Christ’s  left,  is  finished.  In  traced 
script  below  : Leonardus  Vincius  pinxit — Raphael 
Morghen  sculpsit  acqua  forti  The  V in  Vincius  is 
rounded  at  the  bottom.  Brit:  Mus. 

do  The  three  figures  on  the  extreme  left,  and  the  table- 

cloth are  in  outline,  except  the  draperies,  which  are 
about  half  worked.  The  walls  are  finished  half-way 
up,  except  to  the  left,  behind  the  three  figures  just 
mentioned,  where  they  are  only  half  finished.  That 
portion  of  the  engraving  beneath  the  table  is  only 
half  finished  from  Judas  tu  the  left.  To  the  right  of 
Judas  this  portion  is  finished.  There  are  two  pieces 
of  bread  on  the  plate  before  bimon  ; the  plate  itself 
is  in  outline  only.  The  outstretched  right  hand  and 
arm  of  the  Apostle  on  Jesus’  left  (the  third  figure  from 
the  right-hand  side  of  the  engraving)  are  unfinished. 
Christ’s  hands  are  unfinished  ; the  right  has  a few 
engraved  lines,  the  left  in  outline  only,  bio  cross- 
line  on  any  of  the  pieces  of  bread  or  meat  on  the 
table.  With  the  same  inscription  as  in  preceding 
trial  proof.  Brera. 

Remark  proof.  With  “ the  white  plate.”  Before  all  letters,  but  with 
the  arms.  The  plate  in  front  of  the  Apostle  Simon 
(or  Andrew) — the  third  figure  counting  from  right 
to  left — is  unshaded,  and  there  is  on  it  one  piece  of 
bread  instead  of  three.  This  piece  of  bread  is  white 
on  the  side,  and  without  cross-hatchings  on  top.  To 
the  right  and  left  of  this  piece  of  bread,  on  the  plate, 
are  the  initials  R.  M.  The  plate  is  otherwise  fin- 
ished. Brit:  Mus. 

There  were  eleven  impressions  of  this  state. 
Sold,  London,  Sotheby’s,  No.  96,  i860,  ,£316  ; 
Archinto,  Paris,  1862,  Frcs.  8,820,  to  Amsler  & 
Ruthardt,  printsellers,  Berlin  ; Frankfort,  1880,^311. 

do  Still  with  “ white  plate,”  on  which  is  still  R.  M.,  but 

with  the  artists’  names  in  traced  script  : Leonardus 
Vincius  pinxit — Teodorus  Matteini  delineavit — Raphael 
Morghen  sculpsit  With  the  arms.  Clement. 


72 


CATALOGUE  OF  PLATES. 


I.  “ Same  description  as  the  preceding  state,  but  with  the  dedication 
in  the  lower  margin  in  traced  letters.  The  plate  is  covered  with 
lines,  and  R.  M.  has  disappeared.”  Faucheux,  Catalogue  of  the 
“ Cabinet  de  feu  M.  Simon,”  sold  at  the  Hotel  Drouot,  Paris, 
1862,  March  10,  et  seq. 

II.  Same  lettering  as  that  of  I.,  but  in  addition,  in  shaded,  uncial  capi- 
tals : AMEN  DICO  VOBIS  QUIA  UNUS—VE STRUM  ME  TRADITU- 
RUS  EST — In  the  same  line,  but  in  small,  print  characters  : Math: 
C.  XXVI  In  shaded,  engraved  script : Nicolaus  de  Antonj  ex- 
cudit — Lionardus  a Vincio  pinxit  Mediolani — in  coenaculo  Fratrum 
S.  Dominici — Raphael  Morghen , D.D.D.  This  state  is  before  the 
comma  after  vobis.  Clement.  There  were  about  one  hundred 
impressions  so  printed. 

III.  The  same  lettering,  but  with  a comma  after  vobis,.  Of  this  state 

ther  were  five  hundred  impressions  printed,  of  which  the  first  hun- 
dred bear  Morghen’s  stamp.  Cldment. 

IV.  Still  with  the  comma  after  vobis,  but  distinguishable  from  III.  by  a 

dot  under  the  R in  Raphael.  Clement. 

V.  The  comma  after  vobis  erased.  In  addition,  after  Math  : C.  XXVI., 
on  a line  below,  the  dedication,  in  large,  shaded,  cursive  letters  : 
Ferdinando  III  Austriaco  — Magno  Hetrurice  Duci  The  other 
letters  the  same  as  II.  ; but  all  shaded.  With  the  arms.  The 
earlier  impressions  of  this  state  have  the  dot  under  R the  Brit: 
Mus.,  also  a counter-proof.  There  are  impressions  of  this  state 
showing  retouches. 

VI.  The  same  lettering  and  arms  as  IV.,  but  re-engraved  throughout. 
This  state  is  easily  distinguishable  by  the  modern,  smooth,  thick 
paper  on  which  the  impressions  are  printed.  Keppel. 

SppM-  Laura,  Madonna.  “ Simon  Memmi  ” pinx. 

Dimensions,  12  x 8f. 

Engraved  at  Florence,  1819,  after  the  original  in  the  posses- 
sion of  Antonio  Piccolomini  Bellanti,of  Siena,  for  the  superb  edition 
of  Le  Rime  di  Petrarca , tipografia  del  Seminario,  Padova,  1819- 
20,  2 vols.  large  4to.,  edited  by  Antonio  Marsand,  Professor  in  the 
Padua  University.  Of  this  edition,  45o  copies  were  printed  on 


LAURA,  MADONNA. 


73 


vellum  paper  ; 20  on  plain  paper,  imperial  4to.;  1 on  turquoise- 
blue  paper,  imp.  4to.;  2 copies  on  folio  paper,  nearly  all  the  margin 
being  on  the  outside  and  at  the  bottom  of  the  pages  ; and  finally 
1 copy  was  printed  on  vellum,  and  in  it  were  inserted  miniatures 
and  original  drawings. 

The  plate  was  engraved  under  the  impression  that  the  original 
was  an  authentic  portrait  of  Petrarch’s  Laura,  painted  by  Memmi  ; 
but  both  its  authenticity  and  the  identity  of  the  painter  were  after- 
wards doubted.  Palmerini — who  has  himself  engraved  a Madonna 
Laura  from  an  entirely  different  original — has  devoted  some  twenty 
pages  to  the  discussion  of  these  questions.  See  his  Opere  d' in- 
taglio del.  Cav.  Raff  cello  Morghen , etc.,  terza  editione  con  aggiunte , 
Firenze,  1824,  pp.  97,  108-128. 

A half-length,  to  the  waist,  of  a beautiful  woman,  over  whose 
head  is  thrown  a thin  veil,  which  falls  on  the  shoulders.  Nearly 
full  face,  turned  slightly  to  the  left,  and  looking  toward  the  spec- 
tator, in  an  open-laced  velvet  bodice  with  embroidered  sleeves.  A 
single  row  of  pearls,  to  which  is  attached  a jewelled  pendant,  en- 
circles the  throat.  A slender  chain  passes  around  the  top  of  the 
head  and  falls  at  each  side  over  the  breast.  The  right  hand  only 
is  visible. 

Trial  proof.  The  pure  outline  etching.  Six  lines  are  drawn  from 
the  shoulders  upward  and  across  the  top — where  two 
of  them  touch  the  top  of  the  head — to  form  a frame. 
Brit:  Mus.  ; F.R.H.  This  has  been  cited  as  a sepa- 
rate plate,  put  aside  when  another,  “ nearly  identical,” 
was  engraved.  The  writer  has  carefully  compared  the 
various  states  and  there  is  no  doubt  the  same  plate 
was  used  throughout.  The  error  has  probably  arisen 
from  the  fact  that  the  frame-lines  are  seen  in  this 
state  of  the  plate  only,  having  been,  in  the  next 
state,  obliterated  in  the  engraving  of  the  background. 
The  tracing  of  the  outline  of  the  portrait  is  beauti- 
fully executed,  the  lines  being  so  delicately  soft  and 
even  that  they  produce  the  effect  of  a fine  pencil- 
drawing. 

do  The  figure  still  in  outline.  The  background  suf- 
ficiently engraved  to  cover  up  the  frame-lines  ; but 
not  finished. 


74 


CATALOGUE  OF  PLATES. 


do  Some  burin  lines  on  the  bodice  and  sleeves  ; the 

background  as  in  the  preceding  trial  proof  ; the  rest 
in  outline.  Brit:  Mus. 

do  Lacking  the  final  touches  only.  Brit:  Mus. 

I.  Before  all  letters.  Grandi. 

II.  In  shaded,  engraved  script : Simon  Memmi pinxit — Raphael Morghen 
sculpsit  Brit:  Mus. 

III.  The  same  lettering  as  in  II.;  but,  in  addition,  in  unshaded  script: 

Archetypum  est  Senis  penes  Eq.  Antonium  Piccolomini  Bellanti. 
Brit:  Mus. 

IV.  The  same  lettering  as  in  III.;  but,  in  addition,  in  a line  under  the 

artists’  names,  in  open,  traced,  uncial  capitals  : 

BEATI  GLI  OCCHI,  CHE  LA  VEDER  VIVA 
Brit:  Mus.,  plain  and  on  India  ; F.R.H. 

V.  Same  lettering  as  IV.  ; but  all  the  letters  engraved  and  shaded. 

Brit:  Mus. 


86.&'  Leo  X.,  Pope.  Raff.  Sakzio pinx. 

Dimensions,  I2f  x 

Engraved  at  Florence,  i8i5,  from  a portion  of  the  original 
picture  in  the  Pitti  Palace,  in  which  the  Pope  is  seen  half-length, 
seated,  and  attended  by  the  two  cardinals,  Lodovico  de’  Rossi  and 
Giuglio  de’  Medici,  the  latter  of  whom,  his  cousin,  was  subsequently 
raised  to  the  Papacy  with  the  title  of  Clement  VII.  This  entire 
picture  has  been  beautifully  engraved  by  Samuele  Jesi,  a plate 
seen  at  its  best  in  the  remark  proofs — “ with  the  white  button.” 

This  is  the  only  plate  engraved  by  Morghen  for  the  series, 
published  by  Bettoni,  Padova,  1812,  el  seq.,  and  called  Vite  e 
Ritratti  di  illustri  Italiani.  It  is  a head  and  bust  only  in  an  oval. 

Giovanni  de’  Medici,  born  at  Florence,  December  11,  1475, 
died  November  24,  1523.  In  his  fourteenth  year  he  was  made  a 
cardinal,  chiefly  owdng  to  his  being  the  second  son  of  Lorenzo  the 
Magnificent.  March  11,  1 5 1 3,  on  the  sudden  death  of  Julius  II., 
he  unexpectedly  succeeded  to  the  Papacy,  under  the  title  of  Leo 
X.  “ He  is  the  only  pope  who  has  bestowed  his  own  name  upon 
his  age,  and  one  of  the  few  whose  original  extraction  has  corre- 


LEO  X.,  POPE. 


75 


sponded  in  some  measure  with  the  splendor  of  the  pontifical 
dignity.”  This  “ most  fortunate  and  magnificent  of  the  popes 
. . . to  one  class  [of  critics]  represents  the  ideal  of  the 

papacy  as  a civilizing  and  beneficent  institution  ; to  another — 
comprising  Catholics  as  well  as  Protestants — he  is  the  personifica- 
tion of  its  worldliness  and  apostacy.  The  merit  or  demerit  of  his 
actions  will  be  variously  estimated  to  the  end  of  time.  The  lead- 
ing traits  of  his  character,  however,  are  matters  of  fact,  which 
prepossessions  should  not  be  allowed  to  distort,  and  it  may  be  con- 
fidently affirmed  that  they  were  mostly  amiable  and  laudable.  He 
was  constitutionally  kind,  compassionate,  and  bountiful, — endowed 
with  Florentine  prudence  and  circumspection,  but  cast  altogether 
in  a more  liberal  mould  than  the  mercantile  race  from  which  he 
sprang.  The  best  of  the  Medici,  except  his  father  Lorenzo,  he  is 
in  many  points  more  humanly  interesting  than  the  latter,  and  the 
disadvantage  at  which  he  occasionally  appears  is  mainly  attributa- 
ble to  his  being  less  perfectly  equipped  by  nature  for  the  part 
assigned  to  him  by  fortune.  His  geniality  sometimes  degenerated 
into  indecorum,  and  in  a certain  degree  injured  the  credit  of  the 
church.  His  aesthetic  pantheism,  though  inspired  by  a real  religious 
sentiment,  fixed  the  reproach  of  paganism  upon  her  at  the  precise 
moment  when  an  evangelical  reaction  [the  Reformation]  was 
springing  up.  The  best  possible  pope  for  the  age  that  was 
going  out,  he  was  the  worst  possible  for  the  age  that  was 
coming  in  ; hence  the  splendors  of  his  administration  were 
ephemeral,  and  its  disasters  lasting.  If  his  reputation  as  a 

pope  and  a statesman  is  thus  ambiguous,  no  such  deduction 
need  be  made  from  his  serener  fame  as  a patron  of  letters 
and  art.  In  this  respect  he  stands  almost  alone,  except  for  such 
rare  examples  as  his  father  and  the  modern  kings  of  Bavaria,  as 
a prince  who  did  not  merely  strike  a tacit  bargain  with  men  of 
genius,  setting  his  patronage  against  their  flattery,  but  one  who 
entered  into  their  pursuits  from  a genuine  congeniality  of  taste  and 
temperament,  and  aided  them  efficaciously  not  only  as  their  patron, 
but  as  their  companion.  Unlike  most  exalted  patrons  of  literature, 
he  was  a scholar  first  and  a sovereign  afterward  ; hence  his  contact 


76 


CATALOGUE  OF  PLATES. 


with  the  first  intellect  of  the  age  was  far  more  direct  and  personal 
than  that  of  an  Augustus  or  a Louis  XIV.  Great  as  were  the 
obligations  conferred  upon  individuals  by  his  tact  and  discernment, 
it  is  no  doubt  true  that  the  intellectual  movement  of  his  age  arose 
and  could  well  have  subsisted  without  him.  It  is  none  the  less 
true  that  if  not  the  source  of  that  light,  his  court  was  the  focus  to 
which  it  converged,  and  which  gave  it  back  with  a lustre  which 
still  renders  the  era  that  bears  his  name,  in  its  literary  and  artistic 
aspects,  one  of  the  brightest  periods  in  the  history  of  mankind.” 
— R.  G.  Encyclopaedia  Britannica,  9th  edition,  Art.  Leo  X.  For 
details  of  this  most  interesting  career,  see  the  Italian  Life  of  Pope 
Leo  X.,  by  Paolo  Giovio,  or  Jovius,  Bishop  of  Nocera,  his  con- 
temporary ; and  the  well-known  work  by  William  Roscoe.  It 
may  be  said  that  the  history  of  this  Pontiff  is  the  history  of  his  time, 
so  important  a figure  did  he  make  in  it  politically,  religiously, 
artistically,  and  literarily. 

Trial  proof.  The  background  and  cap  nearly  finished  ; the  rest  in 
outline  etching.  Brit:  Mus.  ; Brera. 

I.  Before  all  letters.  Brit:  Mus. 

II.  In  minute,  shaded  script,  close  under  the  oval : Raph:  Sanctius 
pinxit  — Raph.  Morghen  sculp: 

III.  Same  lettering  as  II. ; but,  in  addition,  after  sculp:  the  date  1815. 

Brit:  Mus. ; Grandi. 

IV.  Same  lettering  as  III. ; but,  in  addition,  in  open,  traced,  uncial 

capitals:  Leon  X.  Brit:  Mus. ; F.R.H. 

V.  Same  lettering  as  IV.,  but  with  Leon  X.  in  heavy,  black  capitals. 

VI.  Same  lettering  as  V. ; but  with  a shaded  rectangle,  uniform  with  the 
finished  state  of  the  others  of  the  series.  Grandi. 

87.  Lot  and  his  Daughters.  La  Famiglia  di  Lot. 

Guercino  pinx. 

Dimensions,  22^  x 8£. 

Engraved  at  Rome,  1787,  from  a picture  which  subsequently 
passed  into  the  possession  of  the  Rev.  T.  Staniforth,  at  Storrs,  and 
which  differs  from  the  composition  of  the  same  subject  in  the 
Louvre.  See  Dr.  G.  F.  Waagen,  Galleries  and  Cabinets , London, 


LOT  AND  HIS  DAUGHTERS. 


77 


i857,  8 vo,  and  Treasures  of  Art  in  Great  Britain , etc.,  by  the  same 
author,  London,  1 855,  3 vols.  8vo. 

This  plate  was  engraved  to  the  order  of  Mr.  Day,  a picture - 
and  art-dealer  in  Rome,  partly  by  Guglielmo  and  partly  by  Raph- 
ael Morghen.  It  remained  for  some  time  with  the  artists’  names 
only.  Later  the  then  possessors  had  the  lettering  cut  and  a few 
impressions  were  taken  with  open  letters.  Mr.  Louis  Thies  is  the 
authority  for  this  statement,  the  writer  never  having  seen  an  open- 
letter  impression.  From  Mr.  Day  the  plate  passed  into  the  posses- 
sion of  Giuseppe  Calendi,  and  is  now  the  property  of  Luigi  Bardi, 
Florence. 

In  the  foreground,  on  the  right,  Lot  is  seated  on  the  ground, 
leaning  his  back  against  the  trunk  of  a dead  tree.  He  is  half 
draped  and  wears  a turban.  He  holds  a cup  in  his  right  hand 
from  which  he  drinks.  In  front  of  him,  on  the  left  of  the  picture, 
are  the  kneeling  figures  of  his  two  daughters,  one  nearly  nude,  the 
other  fully  dressed.  Both  look  towards  Lot,  their  left  hands  rest- 
ing on  flagons.  In  the  background  the  city  of  Sodom  in  flames, 
in  front  of  which  is  the  figure  of  Lot’s  wife,  who  was  turned  into 
salt. 

Trial  proof.  “ A proof  in  acqua-fortis  ” is  mentioned  in  the  Poggiali 
Catalogue,  and  there  said  to  be  “ very  rare,  one  or 
two  only  having  been  so  printed.” 

I.  Before  all  letters.  There  are  false  proofs  only  of  this  state.  They  ap- 
pear without  the  frame,  and  the  lettering  has  been  covered  in  the 
printing.  See  Aloys  Apell,  Handbuch  fur  Kupferstichsammler,  etc., 
Leipsic,  1880,  page  288.  The  writer  has  never  seen  an  impression 
in  this  state. 

II.  With  the  frame,  close  under  the  lower  border  of  which,  in  shaded 
script  : Francs  Barbieri  vulgo  dicto  Guercino  pinx. — Stephanas 
Tofanelli  delin. — Raphael  Morghen  sculp.  Romae.  Brit:  Mus. ; 
F.R.H. 

III.  “With  an  inscription  in  open  letters.”  Louis  Thies. 

IV.  In  shaded,  engraved  script  : Francesco  Barbieri  detto  it  Guercino 

pinx. — Stephanus  Tofanelli  delin. — Raffaello  Morghen  incise  In 
shaded,  uncial  capitals  : INEBRIEMUS  EUM  VINO,  DOR- 


78 


CATALOGUE  OF  PLATES. 


MIAMUSQUE  CUM  EO,  UT  SERVARE  POSSIMUS  EX  PATRE 
NOSTRO  SEMEN.  In  small  letters:  Gen  XIX„ 32  In  shaded 
script:  A l merito  singolare  del  Sig.  Niccolb  Salvetti  Giudice — della 
I.  Corte  d'Appello  nei  tre  Dipartimenti  della  Toscana  Amatore 
della  Belle  Arti,  e Proprietario  di  numerosa  insigne  raccolta  di 
Stampe.  Giuseppe  Calendi  e Niccolb  Palmerini  D.D.D.  With  the 
frame  and  with  the  arms.  Brit:  Mus. 

V.  The  same  lettering  as  in  III.  as  far  as  the  dedication:  Al  merito 
singolare , etc.,  instead  of  which,  in  shaded  script,  is:  All'  Illmo: 
Sig:  Conte  Luigi  Moretti  y Gascon  Nobile  Fiorentino,  Comm  dell' 
Ordine  Insigne  di  S:  Stefano  di  Toscana  e del  distinto  ordine  di 
Carlo  III  A lessandro  Bernardini  D.D.D.  Firenze  presso  A les- 

sandro  Bernardini — Without  the  engraved  frame.  Brit:  Mus. 

It  is  not  clear  why  the  frame  was  cancelled  as  it  appears  in  V. 
This  change  must  have  involved  a considerable  expense  and  has 
resulted  in  no  apparent  advantage. 

88M*  Louis  XVIII.  of  France,  s.  Tofanelli 

delin. 

Dimensions,  x 5J. 

Engraved  at  Florence,  1803.  A circular  medallion,  in  a 
shaded  rectangle,  with  a profile  head  turned  to  the  left  ; below  is 
a tablet. 

Louis  XVIII.,  brother  of  Louis  XVI.,  and  fourth  grandson  of 
Louis  XV.,  was  born  at  Versailles,  November  17,  1 755.  His 
baptismal  title  was  Monsieur,  Comte  de  Provence.  He  was  made 
regent  when  the  child  Louis  XVII.  succeeded  to  the  throne  after 
the  execution  of  the  boy’s  father,  Louis  XVI.  Louis  XVII. ’s 
brief  but  most  unhappy  history  ended  with  his  death  in  the  Temple, 
Paris,  June  8,  1795,  and  Louis  XVIII.  then  succeeded  to  the  title 
of  king.  He  wandered  about  Europe  till  1807,  when  he  settled  in 
England  and  lived  there  till  1814.  Taking  advantage  of  Napo- 
leon’s disasters  he  re-entered  France  in  this  year  and  did  not  again 
leave  it — except  on  the  occasion  of  Napoleon’s  return  from  Elba, 
the  “Hundred  Days”  (March  to  June,  1 8 1 5) — dying  there  on 
September  18,  1824. 


LOUIS  XVIII.  OF  FRANCE. 


79 


Trial  proof.  Almost  finished,  but  with  the  tablet  blank.  A wreath 
of  laurels  surmounts  the  medallion.  Brit:  Mus. 

I.  Before  all  letters.  The  laurel  wreath  and  ribbon  above  the  medal- 
lion. The  tablet  blank.  Brera. 

II.  The  same  as  I.  ; but  the  tablet  shaded  with  horizontal  lines  ; and, 
below  the  rectangle,  in  shaded  script  : Raph.  Morghen  sculp:  Brit: 
Mus.  ; Brera  ; Pinakothek,  Munich. 

III.  The  tablet  again  blank.  A bow  of  ribbon  replaces  the  wreath  above 

the  circle.  The  engraver’s  name  erased.  Brit:  Mus. ; F.R.H. 

IV.  Still  with  the  bow  instead  of  the  wreath.  The  engraver’s  name 

erased.  The  tablet  shaded  once  more  with  horizontal  lines,  and 
on  it,  in  shaded  uncial  capitals:  LOUIS  X VIII.  ROI  DE  FRANCE. 
Brit:  Mus. 

8qM'  The  Same.  Ditto  del. 

Dimensions,  I2f  x ioj-. 

Engraved  at  Florence,  1803.  A half-length  standing  figure, 
nearly  full  face,  the  right  hand  holding  a glove  and  cane,  and  rest- 
ing on  the  right  hip.  Three  of  the  buttons  on  the  coat  are  buttoned 
and  four  are  not.  The  background  represents  a landscape,  with- 
out figures,  and  with  a bridge.  On  left  foreground,  directly  behind 
the  figure,  is  an  old  wall,  to  which  some  chains  are  fastened.  On 
one  of  the  stones  of  the  wall  is  the  inscription  : 21  Juin  1791 
the  date  of  the  king’s  flight  to  Coblentz. 

Trial  proof.  Lacking  the  finishing  touches  only  ; the  margins  un- 
cleaned. Brit:  Mus.  ; two  impressions  ; Pinakothek, 
Munich. 

I.  “ Proof  with  the  pointing  before  the  plate  was  cleaned.”  Brassey 
coll.,  Maskell. 

II.  Before  all  letters.  Brit:  Mus. 

Impressions  in  any  state  are  rare. 

qoM'  The  Same . Augustin  pinx. 

Dimensions,  14!  x 10J. 

A private  plate.  Engraved  at  Florence,  1816,  for  the  Mar- 
quis de  Blacas.  A bust,  full  face ; in  uniform  with  epaulettes,  and 


8o 


CATALOGUE  OF  PLATES. 


several  decorations  on  the  breast ; in  an  oval  surrounded  by  a 
rectangle,  in  each  corner  of  which  is  a fleur-de-lys.  Beneath  the 
oval  is  a tablet,  on  which  are  the  arms  and  inscription. 

On  the  pedestal,  which  is  shaded  in  horizontal  lines,  in  open 
uncial  capitals  : 

LOUIS— XVIII. 

ROI  DE  FRANCE — ET  DE  NAVARRE 

In  shaded  script : Ne  a Versailles — le  ly  Novembre,  1755 
- Below  the  rectangle,  in  shaded  script : Augustin  pinxit — Petrus 
Ermini  del: — Raph:  Morghen  sc:  Flor:  1816.  With  the  arms. 
Brit:  Mus.  ; Dresd.  Gall.  Only  these  two  impressions  are  known 
to  the  writer. 


91 M'  Macchiavelli , Niccolo.  A.  Bronzino  pinx. 

Dimensions,  x 5§. 

Engraved  at  Florence,  1795,  for  his  friend  Gaetano  Poggiali, 
from  an  original  owned  by  Poggiali,  who  used  it  in  his  edition  of 
Macchiavelli’s  Works,  Livorno,  1797,  6 vols.  8vo.  Half-length, 
nearly  full  face,  turned  slightly  to  the  left,  looking  toward  the  spec- 
tator ; in  an  upright  oval,  without  a rectangle.  The  hair  and  the 
beard,  which  is  worn  full,  are  cut  close.  He  wears  a dark,  plain, 
buttoned  doublet,  with  light  sleeves.  A mantle  thrown  over  the 
right  shoulder  is  held  up  by  the  left  hand  resting  on  the  hip. 
The  mantle  covers  the  right  arm,  and  the  right  hand,  holding  a 
handkerchief,  rests  on  a table. 

“In  person  Macchiavelli  was  of  middle  height,  black-haired, 
with  rather  a small  head,  very  bright  eyes,  and  slightly  acquiline 
nose.  His  activity  was  almost  feverish.  When  unemployed  in 
work  or  study,  he  ” sought  “ the  society  of  boon  companions, 
gave  himself  readily  to  transient  amours,  and  corresponded  in 
a tone  of  cynical  bad  taste.  At  the  same  time  he  lived  on 
terms  of  intimacy  with  worthy  ” and  eminent  “ men.” — J.  A. 
Symonds. 

Macchiavelli  is  probably  best  known,  popularly,  at  the  present 
day  by  his  II  Principe  ; but  he  wrote  other  important  works — such 


MADONNA  ADDOLORATA. 


as  the  Discorsi  sopra  laprima  deca  di  Titio  Livio,  the  Vita  di  Cas- 
truccio,  Historic  Florentine,  and  I sette  libri  dell ' Arte  di  Guerra  ; 
besides  the  comedy,  la  Mandragola , first  published  at  Rome,  1524, 
and  “ which  may  be  justly  called  the  ripest  and  most  powerful  single 
play  in  the  Italian  language.”  His  utter  disregard  of  all  moral  ob- 
ligation, and  the  false  doctrine  that  the  end  justifies  the  means, 
have  rendered  the  term  “ Macchiavellian  ” an  opprobrious  one. 
He  was,  however,  a consistent  and  talented  patriot ; though,  as 
events  have  proved,  mistaken  in  his  pet  theories  of  government 
and  warfare.  A true  but  disagreeable  knowledge  of  Macchiavelli’s 
character  can  be  best  obtained  by  a perusal  of  his  correspondence, 
especially  that  with  his  friend  Vettori.  His  best  biography  is  that 
by  Professor  Pasquale  Villari,  Florence,  1877-82,  3 vols.,  and  of 
which  there  is  an  English  translation  by  the  author’s  wife,  made 
under  his  guidance. 

Trial  proof.  Unfinished  throughout.  Brit:  Mus.;  Keppel. 

do  Lacking  the  final  touches  only.  Around  the  lower 

border  of  the  oval,  in  slight,  traced  script  : Raphael 
Morghen  sculpsit  Brit:  Mus.,  with  these  letters  inked 
over  with  a pen. 

I.  “ Proof  before  letters.”  Brassey  coll.,  Maskell. 

II.  In  shaded  script:  A ng\  Bronzino  pinxit: — Georg.  Dillis  del.  ijgp. — 
Raph:  Morghen  sculp:  1J95  Brit:  Mus. ; F.R.H. 

III.  Same  lettering  as  II.;  but,  in  addition,  in  open,  uncial  capitals: 
NICCOL  O MA  CCHIA  VELLI  Brit:  Mus. 

92.  Madonna  Addolorata. 

Said  to  have  been  engraved  at  Rome,  1780,  for  a Confra- 
ternita  at  Naples. 

No  impression  is  known. 

93.  Madonna  Addolorata. 

Said  to  have  been  engraved,  like  the  preceding,  at  Rome, 
1780,  for  a Confraternita  at  Naples. 

No  impression  is  known. 


82 


CATALOGUE  OF  PLATES. 


g/j..  Madonna  di  Caracci , La.  Madonna  col  Bam- 
bino. Ludovico  Caracci  pinx. 

Dimensions,  6-|  x 4f . 

Engraved  at  Florence,  1804,  for  Artaria,  of  Mannheim,  from 
the  original  of  the  same  size  in  the  Gini  Palace,  Bologna,  and 
which  subsequently  passed  into  the  possession  of  the  eminent 
Italian  author  and  editor,  Prof.  Gio.  Rosini.  A half-length  draped 
figure  of  the  Virgin  clasps  the  nude  Child  in  her  crossed  arms, 
bending  her  head  to  the  right  to  touch  his.  Her  left  hand  shows 
plainly.  The  Child  raises  his  left  arm  and  lays  his  hand  on  the 
Mother’s  throat.  A small  oval  in  a rectangle. 

Trial  proof.  The  oval  only,  etched  in  outline.  Brit:  Mus. 

do  Still  the  oval  only,  and  lacking  the  final  touches  only. 

Brit:  Mus. 

I.  The  oval  only,  before  all  letters.  A faint,  traced  line  marks  the 
outside  of  the  rectangle.  Brit:  Mus.  ; Brera. 

II.  With  the  rectangle  and,  in  minute  script : Ludovicus  Caracci pinxit — 
Raphael  Morghen  sculp:  Brit:  Mus. 

III.  Same  lettering  as  II.;  and,  in  addition,  in  shaded,  uncial  capitals: 
MADONA  COL  BAMBINO  In  shaded  script : II  quadro  Originale 
d' egual  grandezza  trovasi  nel  Cahinetto  del  Sigr.  Conte  C.  M. 
Gini  a Bologna.  In  small  print  characters  : In  Mannheim  presso 
D.  Artaria  1804..  Brit:  Mus. ; Brera;  F.R.H. 

gg.  Madonna  di  Caravaggio , La.  Caravaggio 

plflX.  ^ Dimensions,  4f  x 3f. 

Engraved  at  Florence,  1800,  the  impressions  to  be  sold  at  the 
church  in  Piacenza  to  pilgrims  and  believers  in  this  Virgin’s 
miracles.  The  head  of  the  Virgin  and  the  finishing  touches  are 
the  only  parts  done  by  Morghen  ; the  rest  was  engraved  by 
A.  E.  Lapi. 

I.  With  the  forefinger  alone  extended  on  the  Virgin’s  upraised  right 
hand.  In  shaded  script:  Vera  Effigie  della  B V M di  Caravaggio 
Venerata  nella  Chiesa  Parrocchiale  di  S.  Protaso  di  Piacenza 
Raff aello  Morghen  sc.  Brit:  Mus. ; F.R.H. 


MADONNA  DEL  CARDELLINO,  LA.  83 

II.  The  same  lettering  as  in  I. ; but  with  four  fingers  extended  on  the 
Virgin’s  right  hand.  Brit:  Mus.  ; F.R.H. 


96.  Madonna  del  Cardellino,  La.  The  Madonna 

with  the  Goldfinch. — Mater  pulcrae  dilectionis.  Raff.  Sanzio 

pinx. 

Dimensions,  19J  x 13^. 

Engraved  at  Florence,  1814,  from  the  original  in  the  Tribune 
of  the  Uffizi.  The  draperies  are  partly  engraved  by  Esquivel,  and 
the  background  partly  by  Antonio  Morghen,  Raphael’s  brother. 
The  plate  is  now  in  the  possession  of  Luigi  Bardi,  Florence. 

The  Virgin  is  seated  on  a stone  in  a hilly  landscape,  the  Infant 
Christ  standing  before  her  and  leaning  against  her  knees  ; in  her 
left  hand  is  a book  ; with  her  right  she  welcomes  St.  John  who 
shows  her  a goldfinch  which  he  holds  on  his  hand  and  toward 
which  Christ  puts  out  his  right  hand.  Mrs.  Jameson  pronounces 
this  “ Perhaps  the  finest  example  [ i.  e.,  of  the  group  of  the  three 
figures,  the  Mother,  the  Child,  and  St.  John]  which  could  be  cited 
from  the  whole  range  of  art.” 


Trial  proof. 


do 

do 

do 


Remark  proof. 


The  sky  blank,  the  figures  only  outlined  ; the  land- 
scape slightly  engraved.  Brit:  Mus.,  two  impressions 
practically  alike. 

The  sky  engraved.  Brit:  Mus. 

Same  as  preceding  ; but,  in  addition,  the  drapery  and 
the  left  foot  of  St.  John  almost  finished.  Brit:  Mus. 

Finished  except  the  body  and  legs  of  St.  John,  and 
the  neck  and  face  of  the  Madonna,  which  are  still 
blank,  as  are  also  the  pages  of  the  book  she  holds  in 
her  left  hand.  Brit:  Mus. 

Finished  except  the  pages  of  the  book  held  in  the 
Virgin’s  hand,  and  which  are  left  blank.  Called 
“ with  the  white  book.”  Brit:  Mus. 


I.  Before  all  letters.  Grandi  sold  privately  an  impression  of  this  state 
Jan.  5,  1882. 

II.  The  artists’  names  as  in  the  next  state,  III.,  but  the  letters  traced 
and  “ with  the  misspelling  Santius  instead  of  Sanctius."  Maskell. 
III.  In  shaded  script : Raph:  Sanctius  pinxit — Petrus  Erviini  delin: — 
Raph:  Morghen  sculp:  Flor:  In  open,  uncial  capitals,  MATER 


84 


CATALOGUE  OF  PLATES. 


PULCRAE  DILECTIONIS  In  unshaded  script : All'  Ornatissimo 
Sig : — Niccolo  Salvetti  Aloysius  Bardi  excudit  Flor entice 

apud  Nicolaum  Pagni.  With  the  arms.  Brit:  Mus. ; Brera. 

IV.  The  same  as  III.  as  far  as  Flor:  ; then,  in  shaded,  uncial  capitals: 
MATER  PULCRAE  DILECTIONIS  In  shaded  script:  A l Sig: 
Presidente — Niccolb  Salvetti  Patrizio — Fiorentino  Amatore 

delle  Belle  Arti  &c.  In  smaller,  shaded  script : Aloysius  Bardi 
excudit — Niccolb  Pagni  D.D.D. — Florentiae  apud  Nicolaum  Pagni 
With  the  arms.  Brit:  Mus. ; Brera;  Grandi ; Keppel. 


<py.  Madonna  del  Granduca.  Pulcra  es,  et  decora. 

Raff.  Sanzio  pinx. 

Dimensions,  13  x 8^. 

Begun  at  Florence,  1823,  but  not  finished  till  1825  or  1826. 
The  picture  derives  its  name  from  the  Grand-Duke  Ferdinand  III., 
Morghen’s  patron,  who,  having  bought  it,  prized  it  so  highly  that 
he  kept  it  during  his  lifetime  in  his  private  appartments.  It  is 
now  in  the  Pitti  Gallery.  Baedeker,  No.  266.  The  plate  is  now 
owned  by  Luigi  Bardi,  Florence. 

The  Virgin  a |--length  figure,  full  face,  looking  down,  holding 
the  almost  nude  Child  on  her  left  arm,  and  supporting  him  with 
her  right  hand.  The  Child’s  face  is  slightly  turned  to  the  left,  and 
he  raises  his  left  hand  to  his  Mother’s  throat. 

Trial  proof.  “Proof  of  background,  the  figures  mostly  outlined, 
three  slightly  varying  states.  The  whole  figure  in 
outline.”  Brassey  coll.,  Maskell. 
do  The  background  in  various  stages  of  progress  ; but 

the  figures  etched  in  outline  only.  Brit:  Mus.,  three 
impressions. 

do  “Proof,  the  heads  only  finished.”  Brassey  coll., 

Maskell. 

do  Nearly  finished  ; but  the  hand  of  the  Virgin  and  the 

right  hand  of  the  Child  still  blank.  Brit:  Mus. 
do  A few  finishing  touches  still  lacking,  except  on  the 

Child’s  right  hand,  which  is  still  blank.  Brit: 
Mus. 


I.  Faintly  etched  at  lower  right  corner:  R.  M.  Brit:  Mus.;  F.R.H. 


MADONNA  DEL  LATTE,  LA.  85 

II.  In  faintly  traced  script:  Raff aello  Sanzio  d' Urbino  dip: — V.  Gozzini 
dis: — Raffaello  Morghen  incise.  Brit:  Mus. 

III.  Same  lettering  as  in  II.;  but  the  letters  shaded  and  engraved,  and, 

in  addition,  in  open,  uncial  capitals:  PULCRA  ES  , ET . DECORA  , 
VIRGO  , ET  MATER  In  small  italics,  at  left  lower  corner: 
Luigi  Bardi  impresse.  Brit:  Mus. 

IV.  With  the  arms.  All  the  following  letters  engraved  and  shaded : 

Raffaello  Sanzio  d'  Urbino  dip: — V.  Gozzini  dis: — Raffaello  Morghen 
incise  In  flourished,  uncial  capitals:  PULCRA  ES  , ET  DECORA  , 
VIRGO  , ET  MATER  In  script:  A Sua  Altezza  — Imperiale  e 
Reale  In  Gothic  letters:  L' Arciduca  Leopoldo  LI — Granduca  di 
Toscana  ec  . ec  . ec  . In  small  script : II  qnadro  originale  esiste 
nell'  I.  e R.  Palazzo  Pitti — Raffaello  Morghen  D.D.D.  In  italics: 
Luigi  Bardi  impresse.  Brit:  Mus. ; Keppel. 

98.  Madonna  del  Latte , La.  Mater  Divinse  Gratise. 
Benvenuto  Garofalo  pinx. 

Dimensions,  n|-  x 8|-. 

Engraved  at  Florence,  1 8 1 5 , to  the  order  of  Messrs.  Weiss  & 
Co.,  of  Berlin.  The  Virgin,  seated,  full  face,  is  looking  down  at 
the  Child,  who,  wrapped  in  swaddling  clothes,  is  suckling  at  his 
Mother’s  breast.  On  her  left  is  a table  with  a dish  of  fruit,  and 
behind  this  a curtain.  Palmerini,  Morghen’s  friend  and  admirer, 
etched  and  partly  engraved  the  background,  and  Esquivel  did  parts 
of  the  early  work  on  the  draperies. 

Trial  proof.  The  figures  and  clothing  etched  in  outline,  the  back- 
ground shaded.  Brit:  Mus. 

do  Portions  of  the  drapery  partly  engraved.  Brit:  Mus., 

mutilated. 

do  “ Proof,  finished  except  the  head,  left  shoulder,  and 

hands  of  the  Virgin  and  the  upper  part  of  the  Child, 
which  are  in  outline.”  Brassey  coll.,  Maskell. 

I.  In  delicately  traced  script : 

Benv.  Garofalo  pinx. — Raph.  Morghen  sculp. 

Im  Verlag  bei  Gaspare  Weiss  et  Cl.  in  Berlin. 

Brit:  Mus.,  with  Weiss’  stamp — a white  W — in  lower  left  corner. 


86 


CATALOGUE  OF  PLATES. 


II.  Same  as  I.;  but  the  letters  there  given  are  made  a little  heavier, 
and,  in  addition,  in  large,  traced,  open,  uncial  capitals:  MATER 
DIVINAE  GRATIAE  Brit:  Mus. ; Brera. 

III.  The  following  letters,  re-engraved,  in  shaded  script:  Benv.  Garofalo 
pinx. — F.  Heubach  impress:  Norimb Raph.  Morghen  sculp.  In 
shaded,  uncial  capitals  : MATER  DIVINAE  GRATIAE  In  shaded 
italics  : Im  Verlagbei  Gaspare  Weiss  & Cf.  in  Berlin.  Brit:  Mus.; 
Brera. 


qq.  Madonna  del  Sacco,  La.  Andrea  del  Sarto 

pinx. 

Dimensions,  30J  x 18. 

Engraved  at  Florence,  1795,  from  the  fresco  in  a lunette  over 
a door  in  the  cloisters  of  the  P.  P.  Serviti,  Florence.  A heavily 
draped  figure,  full  face,  of  the  Virgin,  seated  on  a step.  She  draws 
the  Child  up  on  her  knees  on  the  right.  Behind  her  on  the  left, 
Joseph,  leaning  his  left  arm  on  a sack,  reads  from  an  open  book 
held  on  his  knees  by  his  left  hand.  He  is  in  profile  facing  the 
Virgin  and  Child.  The  picture  derives  its  name  from  this  sack  on 
which  Joseph  leans.  M.  d’Argenville,  Scanelli,  and  many  others 
have  supposed  Andrea  del  Sarto  to  have  been  paid  for  this  fresco 
with  a bag  of  grain  ; but  this  is  an  error,  as  there  are  existing 
proofs  of  his  having  been  paid  in  money.  Besides,  as  Nagler  says, 
the  sack  contains  clothes,  not  grain.  See  Alfred  de  Reumont, 
pp.  1 53  and  154,  note.  See,  also,  Vasari,  VIII.  This  eminent 
critic  says,  that  “ for  drawing,  grace,  and  beauty  of  color,  for 
loveliness  and  relief,  no  artist  had  ever  done  the  like.”  For 
detailed  criticism  and  description  of  the  picture,  see  Nagler  XIX., 
400  ; and  Crowe  and  Cavalcaselle,  History  of  Painting  in  Italy, 
III.,  572. 

The  plate  is  now  owned  by  Luigi  Bardi,  Florence.  There  is 
an  excellent  engraving  of  the  same  subject,  in  line,  by  Francesco 
Bartolozzi. 

Trial  proof.  The  background  and  architectural  portions  are  en- 
graved but  unfinished  throughout.  The  figures  are 
touched  here  and  there  with  the  graver.  Brit:  Mus. 


MADONNA  DELLA  SEGGIOLA,  LA. 


8 7 


I.  Before  all  letters.  Brit:  Mus. ; Brera. 

II.  In  minute,  faintly  traced  script : Andreas  Vannuchius  pinx:  vulgo 
dicto  Andrea  del  Sarto  — Theodoras  Matteini  delin.  — Raphael 
Morghen  scidp.  Flor.  Brit:  Mus. 

III.  The  lettering  of  the  previous  state  erased,  and  in  its  stead,  in  small, 

engraved  script : Andreas  Vannuchius  pinx f vulgo  dicto  And:  del 
Sarto  — Theodoras  Matteini  delin  — Raphael  Morghen  sculp  Flor 
In  traced,  open,  uncial  capitals : A SUA  ECCELENZA  IL  SIGNOR  — 
GENERALS  MARCHESE  MANFREDINI.  With  the  arms.  Brit: 
Mus. ; Gray  coll. 

IV.  The  same  as  far  as  Flor,  after  which,  in  fancifully  shaded,  uncial 

capitals  : A SUA  ECCELENZA  IL  SIGNOR  — GENERALS  MARCHESE 
MANFREDINI  In  shaded  script : Cavaliere  Gran  Croce  di  Santo 
Stefano,  e Magnate  d’  Ungheria,  Ciamberlano  — e Consigliere  Attuale 
intimo  di  Stato  di  Sua  Maesta  Lmperiale,  Proprietario  d'un 
Reggimento  d'  Lnfanteria  Maggior  Domo  — Maggiore  della  Corte  di 
Toscana.  Raffaello  Morghen  D:  D:  D — Brit:  Mus.,  also  a 
counterproof. 

V.  With  additional  flourishes  in  the  description,  and  with  the  V in 
Vannuchius  reversed.  Brassey  coll.,  Masked. 


ioo.  Madonna  della  Seggiola,  La.  della  Sedia; 

OF  THE  CHAIR.  RAFF.  SaNZIO  pinx. 

The  larger  plate. 

Dimensions,  l6J  x 14J. 

Engraved  at  Florence,  1793,  from  the  original,  now  in  the 
Pitti  Palace,  and  the  first  plate  engraved  by  Morghen  after  his 
removal  to  that  city.  A circle  in  a shaded  rectangle.  A |-  figure 
of  the  Virgin  seated  in  a chair  and  bending  down  her  head,  seen  -f 
face  to  the  right,  so  that  it  touches  the  head  of  the  Infant  Christ, 
whom  she  holds  in  her  lap  and  clasps  with  both  arms.  Both  are 
looking  toward  the  spectator.  The  Child  nestles  to  his  Mother’s 
breast,  while  behind  him  St.  John  looks  up  at  him  and  clasps  his 
hands  together  in  an  attitude  of  adoration. 

There  is  probably  no  Madonna  more  generally  admired  than 


CATALOGUE  OF  PLATES. 


this  one.  It  hung  for  a long  time  in  the  Tribune  of  the  Uffizi 
Palace,  where  it  appears  in  an  inventory  taken  in  1589.  It  is 
elaborately  criticised  and  commented  on  by  Passavant,  II.  Copies 
of  every  description  have  been  made  of  this  favorite  theme,  so 
admirably  and  pleasingly  composed  and  painted.  Morghen’s  plate 
is  considered  the  best  engraving,  but  before  him  and  since  it  has 
been  a favorite  subject  with  engravers.  Among  the  many  who 
have  attempted  it,  with  more  or  less  success,  may  be  mentioned  : 
Egidio  Sadeler,  S.  Raeven,  Gius.  Calendi,  Carmona,  Lenfant,  J. 
M.  Preisler,  Violanto  Vanni,  G.  D.  Picchianti,  F.  A.  Lorenzini,  F. 
Gregori  (3  plates),  F.  Bartolozzi,  in  1778,  in  stipple  ; Lasinio,  A. 
B.  Desnoyers,  R.  U.  Massard,  J.  G.  Muller,  for  the  Musee  Frangais  ; 
G.  Garavaglia,  in  1828  ; E.  Duponchel,  for  the  Galerie  de  Flor- 
ence, Paris,  1789-21,  large  folio  ; Weber,  A.  Karscher,  A.  Schleich, 
Della  Bella,  A.  Nardello,  A.  Contardi,  G.  B.  Cecchi,  H.  Cartoni, 
and  Jacopo  Morace,  L.  Guidotti,  J.  Eisen,  F.  V.  Durmer,  Pietro 
Vedvato,  C.  Vascelini,  and  many  others.  An  excellent  engraving 
is  that  by  Gandolfi,  of  about  the  same  size  as  Morghen’s  larger 
one,  the  plate  of  which  is  now  owned  by  the  Messrs.  Grandi,  of 
Milan. 

Trial  proof.  The  pure  outline  etching.  There  were  only  three  im- 
pressions printed  of  this  state.  Rigal  Catalogue, 
do  With  a few  lines  of  engraving  only  over  the  outline 

etching.  Brit:  Mus.  ; Dresd.  Gall, 
do  No  material  progress  from  preceding.  Brit:  Mus. 

do  Another  trial  proof,  practically  the  same  as  the  pre- 

ceding two.  Brit:  Mus.  ; Brera. 

I.  Before  all  letters.  Brit:  Mus.  This  is  the  only  impression  known  of 
this  state.  It  was  bought  by  the  British  Museum  of  the  Messrs. 
Colnaghi  in  1850.  The  margins  are  cut  closely  into  the  engraved 
portion  of  the  plate  on  the  sides  and  top.  On  the  back  is  written 
in  pencil,  by  some  unknown  hand  : 

A proof  before  all  letters 
I believe  this  proof  to  be  unique 
It  hung  in  Morghen  s Studio  ivithout 
a frame  for  many  years , and  was  much  damaged. 

II.  Before  the  arms,  but  with  the  artists’  names.  These  are  said  to  be 


MADONNA  DELLA  SEGGIOLA,  LA. 


89 


false  proofs,  the  letters  having  been  covered  over  in  the  printing. 
The  impressions  seem  to  be  clear  and  brilliant,  however.  F.R.H. 

III.  With  the  arms,  and  in  faintly-traced  script:  Raffaelle  da  Urbino 
dipinse — Raffaelle  Morghen  dis.  e inc.  in  Firenze.  Grandi ; F.R.H. 

This  state  properly  belongs  after  IV. ; the  letters  having  been 
covered  in  the  printing. 

IV.  Same  as  III.  ; but,  in  addition,  in  open,  uncial  capitals  : A SUA 
ECCELaz  IL  SIGr.  MARCHse — GENERAL  MANFREDINI.  In  traced 
script : Ec.  ec.  In  Firenze  per  Niccolo  Pagni  e Gins.  Bardi — Raf- 
faelle Morghen  le  sue  Toscane  Primizie  D.D.D.  Brit:  Mus. ; Grandi. 

V.  In  shaded  script : Raffaelle  da  Urbino  dipinse — Raffaelle  Morghen 
dis.  e inc.  in  Firenze.  In  shaded  script : A l Promotor e — della  Sua 
Fortuna  presso  V Ottimo  Principe.  In  shaded,  uncial  capitals: 
FERDINANDO  III.  Again,  in  shaded  script : In  Firenze  per 
Niccolb  Pagni  e Gins.  Bardi — Raffaelle  Morghen  le  sue  Toscane 
Primizie  D.D.D.  Keppel. 

VI.  Same  lettering  throughout,  except  that,  instead  of  In  Firenze  per 
Niccolb  Pagni  e Gius.  Bardi , is  substituted,  in  shaded  script : In 
Firenze  presso  Giuseppe  Bardi  Grandi. 

VII.  The  dedication  erased,  the  coat  of  arms  left ; but  with  the  address 
of  Niccolb  Pagni  alone.  (?) 

This  state  is  given  by  Andresen,  but  is  unknown  to  the  writer. 

VIII.  “ With  the  first  line  of  the  dedication,  in  traced  letters,  but  with 
the  error:  ECCLZA , by  which  it  is  easily  distinguished  from  III.” 
[IV.,  as  given  above].  The  writer  has  never  seen  this  state;  but 
it  is  thus  described  by  Andreas  Andresen,  Handbuch  fur  Kup- 
ferstichsammler,  etc.,  Leipzig,  1873,  vol.  II.,  p.  191  : “ Mit  der 
ersten  Zeile  der  Dedication  in  Nadelschrift,  aber  mit  dem  falschen 
ECCLZA , wodurch  man  diese  leicht  von  den  III.  Etats  unterscheiden 
kann.” 

IX.  “ The  print,  with  the  full  inscription,  engraved  with  the  burin,  and 
the  uncial  letters  shaded,  but  with  the  mis-spelling  ECCLZA  ; such 
I have  seen  repeatedly,  and  our  second  copy  is  such  ; though  I 
do  not  find  it  described  before  Rudolph  Weigel,  in  the  catalogue 
of  Von  Quandt,  whose  collection  was  sold  in  i860,  No.  2179: 


90 


CATALOGUE  OF  PLATES. 


‘Alter  schoner  Abdruck  mit  ECCLZA,  und  der  Adresse  von  N. 
Pagni  ’ (on  the  left  side  below),  * auch  Nic.  de  Antony’s  Name 
als  Drucker  ’ (in  the  lower  corner,  on  the  right).”  Louis  Thies, 
Gray  Catalogue. 

X.  The  same  as  IX.;  but  with  the  mis-spelling  corrected — i.  e.,  ECCELZA 
instead  of  ECCLZA 

XI.  The  same,  but  with  the  address  of  Bettelini,  Rome — i.  e.,  instead  of 
In  Firenze  per  Niccolb  Pagni  e Gius.  Bardi , is  substituted  : Ln 
Roma  presso  Pietro  Bettelini  e Compagni.  Brit:  Mus. 

XII.  Same  as  preceding,  except  the  last  two  lines,  which  are  changed  to 
read  as  follows,  in  shaded  script : Ln  Roma  presso  Nicola  [sic]  de 
Antonj  in  Via  del  Cor  so  N.  36 — Raffaelle  Morghen  le  sue  Toscane 
Prinizie  D.D.D.  In  smaller,  shaded  script:  Niccola  de  Antonj 
impresse.  Grandi. 

XIII.  Same  lettering  as  in  IV. ; but  all  the  letters  engraved  and  shaded. 
There  is  no  address — i.  e.,  the  lettering  ends  with  GENERAL  MAN- 
FREDINI  ec.  ec.  Grandi. 

XIV.  “Very  recently  the  whole  plate  has  been  re-engraved,  and  these 
new  impressions  have  again  put  the  mis-spelling  in  the  dedication, 
calculated  to  deceive  : they  are,  however,  without  Pagni’s  address  ; 
those  that  I have  seen  have  no  address  at  all.”  Louis  Thies, 
Gray  Catalogue. 

1 01 . The  Same.  Ditto  pinx. 

The  smaller  plate. 

Dimensions,  I5f  x I2f. 

Morghen  etched  this  plate  in  outline  contemporaneously  with 
the  preceding  one  at  Rome,  in  1793.  He  engraved  the  right 
leg  of  the  Infant  Christ,  and  but  little  else  of  the  plate,  the 
rest  being  the  work  of  Giuseppe  Calendi,  who  finished  it  in 
1832  for  Niccolo  Pagni,  Figlio,  & Co.  This  is  the  last  work 
but  one  of  Morghen.  The  only  plate  touched  by  his  burin  after 
this  is  the  Madonna  di  Sassoferrato,  and  that  was  left  unfinished 
by  him  at  his  death.  The  original  plate  is  now  owned  by  Luigi 
Bardi,  Florence. 


MADONNA  DI  FRIES,  LA. 


9r 


Trial  proof.  “ Proof  with  outline  of  border  only.”  Brassey  coll., 
Maskell. 

I.  Before  the  rectangle  and  before  all  letters.  Brit:  Mus. 

II.  With  the  rectangle,  and  before  all  letters.  Brit:  Mus. 

III.  Faintly  traced  at  lower  right  corner  close  under  the  rectangle  : R.M. 

Brit:  Mus. 

IV.  In  small,  unshaded,  traced  script:  Raffaelle  Sanzio  dipinse — Raffaelle 

Morghen  dis : e incise  1832.  Brit.  Mus.,  plain  and  on  India ; 
Grandi ; Keppel. 

V.  With  the  letters  of  IV.  ; but  these  are  re-engraved  and  shaded,  and 
in  addition,  in  shaded,  uncial  capitals  : SALUS  NOSTRA  IN  MANU 
TUA  In  small  letters  : Gen.  4J.  In  small,  unshaded  letters : 
Firenze  presso  Niccolb  Pagni  Fig.  e Comp0.  Brit:  Mus.  ; Keppel ; 
Grandi. 


102.  Madonna  dl  Fries , La.  Andrea  del  Sarto 

pinx. 

Dimensions,  I2f  x 9. 

Engraved  at  Florence,  1787,  from  the  original,  then  in  the 
collection  of  the  Count  di  Fries,  in  Vienna.  This  collection  was 
subsequently  dispersed,  and  this  picture  then  passed  into  the  pos- 
session of  Herr  Artaria,  in  Vienna.  The  Virgin  is  represented, 
full  face,  seated  in  a rocky  foreground,  holding  the  child  on  her 
knee,  who  turns  his  face  toward  the  spectator.  St.  John  leans 
against  her  knee,  his  arms  crossed,  and  holding  a cross  of  reeds  in 
his  right  hand,  on  her  right.  See  Alfred  de  Reumont,  84.  The 
plate  was  sold  to  Artaria  of  Mannheim,  who  was  its  last  owner 
known.  Pietro  Fontana  did  a considerable  part  of  the  engraving. 

I.  In  shaded  script:  Andrea  del  Sarto  pinx — Rafaele  Morghen  sculp. 
Brit:  Mus.  ; Brera. 

II.  With  the  mispelling  Rambino  in  the  inscription.  Louis  Thies. 

III.  Same  as  I.  ; but,  in  addition,  in  shaded  uncials:  LA  MADONNA  COL 
BAMBINO  In  shaded  script : L'  originate  si  trova  nella  collezione 
—del  Conte  di  Fries  in  Vienna.  With  the  arms.  (Conte,  Fries,  and 
Vienna  are  in  print  characters.)  Brit:  Mus. 


92 


CATALOGUE  OF  PLATES. 


ioj.  Madonna  di  Sassoferratta.  Sassoferrata 

plUX.  Dimensions,  13  x gj. 

Morghen’s  last  plate,  begun  at  Florence,  1832,  from  the  original 
in  that  city  ; but  left  unfinished  at  his  death,  which  occurred  in  the 
next  year.  It  was  subsequently  completed  by  V.  Biondi.  Giovanni 
Battista  Salvi,  the  painter  of  the  original  of  this  plate,  named  il 
Sassoferrato  from  his  native  place,  was  born  in  i6o5  ; died,  i685. 
He  achieved  such  success  in  painting  pleasing  Madonnas  that  he 
was  nick-named  by  his  contemporaries  Pittore  delle  belle  Madonne. 

Trial  proof.  “Proof  of  background,  the  figure  outlined  with  dry 
point.”  Brassey  coll.,  Masked. 

do  Nearly  finished,  except  the  hands,  on  which  the  en- 

graving is  only  just  begun.  Clement, 
do  Nearly  finished  in  all  parts  but  the  fleshes,  which  are 

blank.  Brit:  Mus. 

do  Materially  the  same  as  preceding  ; but  with  some 

graver-work  on  the  mouth,  eyes,  and  fleshes..  Brit: 
Mus.,  two  impressions.  This  is  probably  the  state  in 
which  Morghen  left  the  plate  at  his  death. 

I.  Before  all  letters.  Clement. 

II.  In  traced  script : Sassoferrato  dipinse — V.  Gozzini  dis. — Raffael 
Morghen  e V.  Biondi  inc°.  With  the  arms.  Keppel,  with  Biondi’s 
white  stamp  “ V.B.” 

III.  The  same  lettering;  but,  in  addition,  in  open,  uncial  capitals:  LA 

VERGINE  DEI  DOLORI  Keppel. 

IV.  Same  as  preceding  ; but  with  all  the  letters  shaded  ; and,  in  addition, 

in  shaded  script:  A Sua  Altezza  R" — La  Principessa  Maria 
Teresa — di  Sardegna  In  shaded  Gothic  : Duchessa  di  Lucca  ec. 

ec.  In  small,  shaded  script : Vin°.  Biondi  D.  D.  D.  In  italics  : 
L' Originate  esiste  nell'  L e R.  Galleria  di  Firenze — Firenze  presso 
1' Incisor e.  With  the  arms.  Brit:  Mus. 


i op.  Madonna  di  Tzziano.  Tiziano  Vecelli  pinx. 

Dimensions,  I5f  x 13^. 

Engraved  at  Florence,  1797,  for  the  English  painter  Haed, 
who  died  directly  after  his  return  to  London  with  the  plate.  In 


MADONNA  DI  TIZIANO. 


93 


consequence  there  were  no  impressions  taken  for  several  years, 
except  the  few  printed  for  the  engraver  before  the  plate  was  deliv- 
ered. Morghen,  after  some  years,  sought  out  the  address  of 
Haed’s  widow  and  tried  to  purchase  the  plate  of  her  for  himself ; 
but  he  was  anticipated  by  the  art-dealer  Buchanan,  who  bought  it 
and  began  printing  from  it  in  1814,  making  it  a part  of  his  volume  : 
“The  Select  Work  of  Engravings,  published  by  Mr.  Stone  under 
the  direction  of  Wm.  Buchanan.”  Subsequently  it  was  sold  to 
Artaria,  of  Mannheim,  whose  impressions  were  printed  at  Florence 
and  bear  that  address. 

The  Virgin  stoops  forward  to  lay  the  sleeping  Child,  stretched 
out  at  full  length,  on  a couch.  On  her  head,  which  is  bent  close 
down  to  the  Child’s,  is  a turban  ; a heavy  mantle  over  her  back 
extends  its  folds  under  the  Child’s  head  and  shoulders.  In  the 
foreground,  on  the  right,  a rock  and  foliage  ; the  background  a 
landscape. 

Trial  proof.  The  pure  outline  etching.  Of  this  there  were  only- 
three  impressions  printed.  Rigal  Catalogue,  Nagler. 
do  Unfinished  throughout.  Brit:  Mus. 

do  The  two  heads  and  the  drapery  under  the  head  of  the 

Infant  Christ  are  finished.  The  rest  is  but  slightly 
engraved  in  any  part.  Brera. 

I.  Before  all  letters.  Brit:  Mus. ; Brera,  on  India;  Brassey  coll.,  on 
India;  sold  at  Sotheby’s,  1862,  .£32.  The  engraving  on  the 
fleshes,  in  this  and  the  next  state,  present  a brilliant  example  of 
the  engraver’s  art. 

II.  In  delicate,  traced  letters:  Titianus  pin. — Raph.  Morglien  sculp. 
Brit:  Mus. 

III.  The  artists’  names  as  in  II.  ; and,  in  addition,  in  large,  open,  flour- 

ished, Gothic  letters  : Parce  Somnum  Rumpere  In  minute,  traced 
italics  : Dixon  imprimit  In  print  characters  : London : 25 

March  i8ip,  Published  by  Mr..  Stone  at  the  Historic  Gallery,  8y,  Pall 
Mall,  for  the  Select  Work  of  Engravings  under  the  direction  of 
W”‘  Buchanan  Esqr..  Brit:  Mus. ; Brassey  coll.,  on  India. 

IV.  The  same  lettering  as  in  III. ; but  all  the  letters  shaded.  Grandi. 

V.  With  the  artists’  names,  and  the  title  in  shaded  letters.  The 


94 


CATALOGUE  OF  PLATES. 


inscription  of  III.  after  Parce  Somnum  Rumpere  is  erased,  and  in 
its  stead  is  the  address  of  Artaria,  Florence. 

VI.  The  greater  portion  of  the  plate  badly  and  roughly  retouched.  The 
artists’  names  are  thus  engraved,  but  unshaded,  in  script : Painted 
by  Titian — Raphael  Morghem  [sic].  F.R.H. 

I Of).  Madonna  del  Fnate , La.  Fra  Bartolomeo 

pinx. 

Dimensions,  I4f  x io£. 

Engraved  at  Rome,  1782  or  3,  mostly  by  Volpato.  The  Vir- 
gin is  seated  holding  the  Infant  Christ  on  her  knee,  and  in  her 
hand  a book.  A curtain  in  the  background  is  pulled  aside  by  two 
cherubs. 

Impressions  are  rare. 

In  engraved  and  shaded  script : Fra  Bartou.s  da  S.  Marco 
pinx1.  Domuf  del  Frate  del[ — Apud  Joan.  Volpato  Ricavato  del 

quadro  originale  esistente  nella  Galleria  di  S.  E.  Milord  Clive  in 
Londra.  Brit:  Mus. 

The  state  mentioned  by  Palmerini  with  presso  Gio.  Volpato 

instead  of  Apud  Joan.  Volpato  has  never  been  seen  by  the 

writer. 

106.  Madonna  and  Child. 

The  dimensions  of  the  engraved  portion  of  the  plate,  5^  x b\. 

An  upright  oval.  The  Virgin,  half  length,  seated,  displays 
the  Infant  Christ,  who  stands  on  her  knees.  The  background  on 
the  right  is  a landscape,  on  the  left  are  some  trees.  No  letters. 
Brit:  Mus.  It  is  likely  that  this  plate  and  the  next  are  not  by 
Raphael  Morghen. 

107.  Madonna  and  Child. 

Diameter  of  the  engraved  portion  of  the  plate,  7§. 

A circle  with  a Virgin  and  Child  similar  in  composition  to 
those  in  Poussin’s  “ Repose  in  Egypt,”  except  that  Christ  holds  in 
his  hand  a globe  with  a cross  on  its  top.  It  is  unfinished  in  every 


MAGDALEN , THE  REPENTANT. 


95 


part,  especially  in  the  figures.  The  background  is  a wall.  It  is 
doubtful  if  it  was  engraved  by  Raphael  Morghen. 

108  Magdalen , St.  Mary.  A half-length  figure. 
Guido  Reni  pinx. 

Dimensions,  8-|  x 6f. 

Engraved  at  Rome,  1779,  from  a drawing  made  by  Morghen 
himself.  This  plate,  together  with  that  of  “ Christ  Appearing  to 
Magdalen  in  the  Garden,”  No.  38,  were  sent  by  Raphael  as  a pres- 
ent to  his  father  in  Naples.  They  were  not  found  among  Filippo’s 
effects  at  his  death,  and  are  probably  lost. 

A half-length  figure,  full  face,  leaning  the  head  on  her  hand 
and  looking  up  in  contemplation  ; the  bosom  partly  bare. 

I.  In  shaded  script:  Guido  Rheni  Pinx { — Raf.  Morghen  del.  et  Scul. 
Romae.  Brit:  Mus. 

II.  Same  as  I.;  but,  in  addition,  in  slanted,  uncial  capitals:  SAINTE 
MAGDELAINE  . In  shaded  script : a Vienne  chez  Art  aria  Comp. 
Keppel. 

III.  Same  as  I. ; but,  in  addition,  in  cursive  capitals : A S.  E.  In 
shaded  script : II  Sigr.  Marchese  della  Sambuca , Cavaliere  del  Real 
ordine  di  S.  Gennaro,  ~ Gentilomo  di  Camera  con  esercizio  di 
S.  M.,  consigliere,  e primo  Segret0.  di  Stato  di  Casa  Re  ale,  affari 
esteri.  ec.  ce  [sic]  ~ Brit:  Mus. 


109.  Magdalen , The  Repentant.  B.  s.  Murillo 

pinx. 

Dimensions,  17 f-  x 12^. 

Engraved  at  Florence,  1801,  for  Mr.  Day,  who  subsequently 
sold  the  plate  to  Nic.  Pagni  & Co.  The  engraving  was  begun  in 
1787,  but  was  considerably  delayed  by  Morghen’s  working  on  the 
Cena,  on  which  he  was  engaged  at  the  same  time.  A whole  figure, 
kneeling,  facing  to  the  left,  with  a background  of  rocks,  and  before 
whom  there  is  on  open  book  resting  on  a skull,  a box  of  ointment, 
and  a cross.  Her  fingers  are  clasped  under  the  chin,  and  her  eyes 
look  upwards.  There  is  some  doubt  as  to  where  the  original  is. 


96 


CATALOGUE  OF  PLATES. 


See  Alfred  de  Reumont,  Romische  Briefe , II.,  210;  Platner  and 
Bunsen,  III.,  iii.,  55 1.  “William  Stirling,  in  his  Annals  of  the 
Artists  in  Spain , in  the  catalogue  of  the  works  of  Murillo,  III.,  p. 
1439,  says : ‘ St.  Mary  Magdalen,  possibly  the  picture  from 

which  Sir  Robert  Strange’s  and  G.  Balestra’s  engravings  were 
executed.  Rome,  D.  of  Bracciano,  Bracciano  Palace.’  The  Gal- 
lery of  the  Duke  of  Bracciano  came  into  the  Orleans  Gallery,  and 
the  latter  was  sold  in  England  in  1798.  The  banker  Torlonia  is 
now  Duke  of  Bracciano,  through  the  purchase  of  the  fee  of  the 
Orsini  Odescalchi.  I do  not  know  of  such  a picture  in  his  palace  ; 
perhaps  the  Doria  palace  was  meant.  The  only  Magdalen  engraved 
by  Giovanni  Balestra  that  I know  of  is  after  Francesco  Vanni. 
Sir  Robert  Strange  did  not  engrave  a Magdalen  after  Murillo  ; 
Raphael  Morghen  must  have  been  meant,  who  engraved  our  Mag- 
dalen, a whole-length  figure  ; while  the  picture  in  the  Doria  palace, 
of  which,  as  far  as  I know,  there  is  no  engraving,  is  half  figure.”- — 
Louis  Thies. 

Trial  proof.  The  outline  etching  ; the  cross,  and  a few  lozenges  in 
the  drapery,  engraved  with  the  burin.  Brit:  Mus.  ; 
Keppel. 

do  Unfinished  throughout,  and  much  of  the  drapery  still 

in  outline  only.  Brit:  Mus.  ; Brera. 
do  Slightly  more  advanced  than  the  preceding,  and  the  sky 

shaded.  Brera. 

do  The  background  and  drapery  partly  engraved,  but  the 

book,  the  fleshes,  and  part  of  the  front  drapery  still 
blank.  Brit:  Mus. 

do  Materially  the  same  state  as  the  preceding.  Brit: 

Mus. 

do  Finished  except  for  the  pointing  and  some  final 

touches.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus.;  Sotheby’s,  i860,  £35  ; Marshall,  No. 
1170,  £1 7 ; Goddard,  No.  342,  .£24  ioj. 

A clever  copy,  which  always  occurs  as  a finished  proof  before  all 
letters,  is  liable  to  be  mistaken  for  this  state. 

II.  Traced,  below,  in  scarcely  legible,  minute  script:  Muriglios  Pinx — 
R.  M.  sc.  Brera. 

III.  In  shaded  and  engraved  script : B.  S.  Murillo pinxit  ~ — Stephanus 


MAGDALEN  WITH  VASE , ETC. 


97 


Tofanelli  delineavit  — Raphael  Morghen  sculpsit  Florentiae  Brit: 
Mus. ; George  Smith,  No.  1014,  £11  iu. ; Macready,  No.  66,  £15 

ICtf. 

IV.  Same  as  III. ; but,  in  addition,  in  fancifully  shaded,  uncial  capitals  : 
SIC  MAGDALENA  COELIA  GAUDIA  QUAERIT  Brit:  Mus. 

V.  Same  as  preceding,  except  the  title,  which  is  changed  to:  SIC  MAG- 
DALENA MAERANS  COELICA  GAUDIA  QUAERIT  still  in  fancifully 
shaded,  uncial  capitals.  Grandi. 

VI.  Retouched.  Same  lettering  as  IV.,  except  the  title,  which  is  re- 
engraved in  plainer  uncial  capitals  than  in  either  IV.  or  V.  The  Q 
in  QUAERIT  has  a much  thicker  tail  stroke.  Grandi. 

1 10.  Magdalen  with  the  Vase;  with  the  Box 
of  Ointment ; Maddalena  del  Vaso.  Carlo 

Dolci  pinx. 

Dimensions,  12-g-  x 9J. 

Engraved  at  Florence,  1823,  for  Luigi  Bardi  & Co.,  after  the 
original  in  the  Uffizi  Gallery.  The  plate  is  still  owned  by  Luigi 
Bardi,  Florence.  Half-length  figure,  turned  to  the  right,  the  eyes 
raised  with  a grieved  expression,  the  hands  folded  on  the  breast. 
In  the  right  hand  the  vase  which  gives  its  name  to  the  picture. 

A plate  by  Emilio  Salvi,  a pupil  of  Perfetti,  from  the  same 
picture  is  well  engraved. 

Trial  proof.  The  figure  blank,  the  background  partly  engraved. 
Brit:  Mus. 

do  The  figure  still  in  outline  ; the  background  as  in  the 

preceding,  and  the  drapery  on  the  left  arm  partly  en- 
graved. Brit:  Mus.  ; Keppel. 

Remark  proof.  “ With  the  white  jewels,”  i.  e.,  the  three  pearls  in 
the  lozenges,  in  a row  on  the  Magdalen’s  right  breast, 
are  left  blank.  There  are  no  letters.  Grandi. 

I.  Before  all  letters.  Brit:  Mus. 

II.  All  the  letters  traced.  In  script : Carlo  Dolci  dipinse — Vin:  Gozzini 
dis: — Raffaelle  Morghen  incise  In  flourished,  open,  uncial,  capi- 

tals : FIDES  SALVAM  FECIT  In  small  script : Lnc.  VII.  JO  In 
print  characters : Firenze  presso  Luigi  Bardi  e C°.  Borgo  degli 


98 


CATALOGUE  OF  PLATES. 


Albizzi  N°.  4.60.  Brit:  Mus.,  two  impressions,  one  of  them  on 
vellum. 

III.  All  the  letters  same  as  II.;  but  fides  salvam  fecit  in  open, 

traced,  plain  uncial  capitals,  and,  in  addition,  after  Luc.  VII.  50,  in 
traced  script:  All'  Ornatiss:  Sig.  Baronessa  Teresa  Bock  Nata 
Lopuska , Amantiss:  delle  Belle  Arti  Luigi  Bardi  D.DD. ; after 
which  Firenze  presso , etc.,  as  in  II. 

IV.  Same  lettering  as  in  III.  ; but  all  the  letters  engraved  and  shaded, 

and  after  Borgo  degli  Albizzi  N°  460 , in  a line  below,  L' Originate 
esiste  nell'  I.  e R.  Galleria  di  Firenze.  Brit:  Mus.,  on  India  and 
plain  : Brera. 

1 11% • Maria  Carolina , Queen  of  the  Two 

Sicilies.  Francesco  Liani  pinx. 

Dimensions,  l6f  x 12. 

Engraved  at  Florence,  1777,  as  a companion  to  the  portrait 
of  Ferdinando  IV.,  her  husband  ; see  No.  60.  Liani,  the  painter 
of  these  two  portraits  was  Morghen’s  grandfather. 

In  an  oval,  half-length,  full  face,  in  full  dress,  her  hair  brushed 
up  and  back  from  the  face  and  decorated  with  jewels.  An  ermine- 
lined  mantle  is  thrown  over  the  shoulders. 

Good  impressions  of  either  of  these  plates  are  rare. 

I.  The  hair  is  combed  back  from  the  forehead,  except  some  of  the 
shorter  hair,  which  falls  over  the  forehead.  At  the  top  of  the 
hair,  on  the  left  side,  are  two  rosebuds,  a rose,  and  some  rose 
leaves.  Twined  into  the  hair  falling  on  the  right  shoulder  are 
three  pearls.  Neither  ears  nor  ear-rings  visible.  Marks  of  the 
graver  in  the  margins.  Brit:  Mus. 

II.  There  is  additional  work  on  the  face.  Five,  instead  of  three,  pearls 
are  to  be  seen  in  the  hair,  which  is  entirely  re-engraved,  none  now 
falling  on  the  forehead — i.  e.,  it  is  all  combed  upwards.  A piece 
of  lace  decorates  the  top,  from  which  are  suspended  two  strings  of 
jewels.  The  hair-puffs  on  the  left  of  the  head  have  cross-lines. 
The  flowers  have  disappeared  and  a jewelled  ear-ring  is  added  in 
the  left  ear.  The  margins  still  show  graver-marks.  Brit:  Mus. 


MARIA  FERDINAND  A. 


99 


III.  None  of  the  lines  are  crossed.  What  was  a lock  of  hair  falling  on 

the  left  shoulder  is  here  altered  to  represent  a continuation  of  the 
robe.  The  bosom  is  almost  wholly  re-engraved  and  appears  less 
convex.  There  are  lines  added  in  the  ear-ring  making  the  jewels 
appear  darker.  Brit:  Mus. 

IV.  Around  the  frame,  in  uncial  capitals  : MARIA  CAROLINA  VTRIVSQVE 

SICILIAE  REGINA  MT.  XX.  AN-  In  large  uncial  capitals,  on 
the  base  beneath  the  oval:  QVO  A VGV—STISSIMAM  REGINAS 
CON — TEMPLANDI  MAIESTATEM  SIT  ROTE  STAS  VI  VAX  El  VS 
IMAGO  PROFERTVR  At  lower  left  corner,  in  the  margin  : 
Raphael  Morghen  1777.  Pinakothek,  Munich  ; Brera. 

1 1 2%  Maria  Ferdinanda,  Principessa  di  Sas- 
sonia,  Grand  Duchess  of  Tuscany.  Vincen- 
cenzo  Gozzini  dis. 

Dimensions,  I2-|  x 9J. 

Engraved  at  Florence,  1822,  for  Bardi  & Co.,  as  a companion 
to  the  portrait  of  Ferdinando  III.,  No.  58,  her  husband. 

An  oval  in  a rectangle,  three-quarter  face  to  the  left,  in  a 
short-waisted,  low-cut  dress  of  the  period,  a mantle  around  the 
shoulders.  The  hair  is  smooth  above  the  forehead  and  in  curls 
over  the  temples.  A diadem  on  the  head,  behind  which  is  a roll 
of  hair.  A pendent  pearl  ear-ring  in  the  left  ear,  and  a necklace 
of  pendent  pearls. 

Trial  proof.  The  pure  outline  etching  of  the  oval,  very  faintly 
traced.  F.R.H. 

do  The  oval  partially  engraved  throughout.  The  pearl  in 

the  ear-ring  is  left  blank.  Brit:  Mus. 
do  Lacking  the  finishing  touches  only ; the  ear-ring 

shaded.  Brit:  Mus. 

I.  Before  all  letters  and  before  the  rectangle.  Brit:  Mus.;  F.R.H. 

II.  Before  all  letters,  with  the  rectangle.  Brit:  Mus. 

III.  In  minute,  traced  script : Vincenzo  Gozzini  dis:  dal  vero — Raffaelle 

Morghen  inc:  1822.  Brit:  Mus. 

IV.  The  line  with  the  artists’  names  as  in  III.;  in  addition,  in  larger, 

unshaded  script:  Sua  Altezza  Imperiale  e Reale  In  open,  un- 


IOO 


CATALOGUE  OF  PLATES. 


cial  capitals  : MARIA  FERDINANDA  PRINCIPESSA  DI SASSONIA 
In  Gothic  letters,  flourished  : Granduchessa  di  Toscana  ec.  ec.  ec. 
Brit:  Mus. 

V.  Still  in  unshaded  letters  throughout.  The  same  lettering  as  IV.; 
but,  in  addition,  in  script:  A Sna  Altezza  L„  e R„  L’Arciduca 
Ferdinando  Terzo  In  uncial  capitals : GRANDUCA  DI  TOSCANA 
EC.  EC.  EC.  In  small  script : Luigi  Bardi  impresse — Raffaelle 
Morghen  D.D.D.  Brit:  Mus.,  on  India  and  plain;  Brera;  F.R.H. 

VI.  Same  lettering  as  in  V.  ; but  all  the  letters  shaded  and  engraved. 
Brit:  Mus. 

VII.  Retouched.  A circular  medal  showing  on  its  face  an  equilateral 
cross,  is  added  on  the  left  breast  of  the  dress.  Raffaelle  Morghen 
D.D.D.  is  changed  to  Raffaello  Morghen  D.D.D. ; and  beneath  is 
added  in  shaded,  print  characters  : Firenze  presso  Luigi  Bardi  e 
C°  Borgo  degli  Albizzi  N°  ffo.  Brit:  Mus. 

//j.  Marine  View,  A.  Du  Cros pinx. 

Dimensions,  21%  x 15^. 

Etched  at  Rome,  1780,  and  partly  engraved  there,  but  re- 
moved to  Switzerland  by  the  painter,  for  whom  it  was  engraved, 
before  it  was  finished.  Palmerini  knew  of  but  one  impression, 
which  he  himself  owned.  At  Morghen’s  request  he  returned  this 
to  the  engraver,  and  it  is  probably  the  one  described  below.  No 
other  is  known. 

A view  on  the  sea-coast  with  a ship  and  several  figures  in  the 
background. 

Unfinished.  The  sky  blank  ; the  foreground  landscape  and 
that  on  the  right-hand  side  of  the  plate  slightly  engraved.  In 
Morghen’s  hand  is  written  in  ink  at  lower  right  corner  ; Prova 
unica  fatta  tirare  da  me  Raffe.  Morghen  avanti  che  il  Rame  audse. 
nella  Svizzera.  Brit:  Mus. 

1 1 4.  Marriage  of  St.  Catharine , The.  Correggio 

pinx. 

Probably  from  the  original  by  Correggio,  in  the  Hermitage, 
St.  Petersburg. 


MAYER , GEORGIO  JONAS. 


IOI 


It  is  very  doubtful  whether  Raphael  Morghen  had  any  thing 
to  do  with  the  engraving. 

The  only  state  known  is  as  follows  : in  lightly  traced  letters  : 
Girgenti  del.  — Morghen  Nap.  sculp  With  the  arms.  Brit:  Mus. 


1 15.  Masquerade , held  by  Order  of  the  King  of 
Naples , representing  the  Procession  of  the 
Grand  Signor  to  Mecca.  Ipse  del. 

Dimensions,  15^  x 8J. 

Engraved  at  Naples,  1778.  There  are  eleven  plates,  besides 
a page  of  letter-press  engraved  in  script  characters.  The  strongly 
printed  impressions  in  black  ink  are  to  be  preferred  to  the  colored 
impressions. 

In  the  carnival  of  177&,  the  King  of  Naples  decided  to  present 
as  a show  the  “ Procession  of  the  Grand  Signor  to  Mecca 
probably  a burlesque  on  the  carrying  of  the  Sacred  Hanging,  or 
Kiswa,  to  Mecca  by  the  Mohammedans  of  Cairo.  This  idea  was 
carried  out,  by  contemporaneous  account,  with  great  magnificence, 
and  Raphael  Morghen  was  commissioned  to  draw  the  Procession 
from  life  and  he  engraved  it  in  the  same  year.  Palmerini — the  great 
friend  and  unqualified  admirer  of  Morghen — says  : “ It  seems  as  if 
he  [Morghen]  had  tried  to  imitate  Jacques  Callot ; but  there  are 
striking  differences,  though  he  has  accomplished  his  task  with 
sufficient  taste  and  freedom.”  The  differences  are,  indeed,  strik- 
ing ! but  allowance  must  be  made  for  Morghen’s  youth,  as  he  was 
only  seventeen  at  the  time.  Besides,  it  was  a style  of  art  entirely 
unsuited  to  him,  and  in  which  he  fortunately  made  few  other 
attempts.  His  strength  was  in  copying,  not  in  designing,  which 
may  be  said  of  almost  all  line  engravers.  No  greater  extremes 
could  be  quoted  than  Callot  and  Morghen. 

Brera,  printed  in  brown  ink  ; F.R.H.,  in  black  ink. 

116M ♦ Mayer , Georgio  Jonas.  Ettlinger pinx. 

Dimensions,  13^  x gf. 

Engraved  at  Florence,  1801,  for  one  of  Mayer’s  sons,  and 


102 


CATALOGUE  OF  PLATES. 


is  an  example  of  Morghen’s  best  work  in  this  style.  The  back- 
ground and  draperies  were  mostly  engraved  by  Angelo  Emilio 
Lapi. 

An  oval  in  a rectangle.  Nearly  half-length  figure,  seated, 
turned  to  the  left,  wearing  a loose-fitting,  fur-trimmed  coat,  which 
is  thrown  open,  showing  the  collar  and  ruffle  of  the  shirt.  The 
left  hand  crosses  the  breast  and  grasps  the  fur  on  the  right  lappel 
of  the  coat.  The  face  is  smooth-shaven,  and  the  white  hair  is 
brushed  back. 

Trial  proof.  With  the  rectangle.  The  head,  linen,  and  hand  are 
etched  in  outline  ; the  rest  partly  engraved.  Brit: 
Mus.  ; the  left  shoulder  touched  up  with  pen  and 
ink  ; Brera. 

do  Materially  the  same  as  preceding  ; the  drapery  on  the 

left  arm  more  advanced.  Brit:  Mus.,  with  pencilling 
on  the  lace  ; Keppel. 

do  The  lace,  collar,  and  the  hand  in  outline  only.  The 

left  forearm  lacking  some  final  touches  ; the  rest 
finished.  F.R.H.,  with  pencillings  on  the  lace  and 
hand,  the  margins  not  yet  cleaned. 

I.  Before  all  letters.  Brit:  Mus. ; F.R.H.,  on  India. 

II.  In  small,  etched  script:  Ettlinger  Electorif  Bavarice  aulce  Pictor 
pinx  — Raphael  Morglien  sculp  sit  Flor entice  Grand  i. 

III.  The  line  of  the  artists’  names  as  in  II.  ; but,  in  addition,  in  large, 

traced,  uncial  capitals:  GEORGIUS  JONAS  MAYER  Keppel; 
Grandi. 

IV.  The  line  of  the  artists’  names  as  in  II.,  but  slightly  strengthened,  and 

in  addition,  in  large,  shaded,  cursive  letters : Georgius  Jonas  - — 
Mayer  Vindebonensis  Natorum  — Benevolentia  With  the 
arms. 

V.  The  line  of  the  artists’  names  as  in  II. ; but  the  subsequent  inscrip- 
tions erased,  and,  in  their  stead,  in  shaded,  uncial  capitals : 
GEORGIUS  JONAS — MAYER  AUGSBURGENSIS  In  open,  italic, 
uncial  capitals:  AETATE  ANN.  LXXX  ~ In  shaded  script: 
Natorum — Benevolentia  Adam:  Georg:  Mayer — Jo:  Christian 

Reinhardt  Phil:  Jacob:  Mayer  — Annae  Mariae  Reinhardt 
Natae  Mayer  With  the  arms.  Brit:  Mus. 


MEDICI , LORENZO  DE\ 


103 


1 1 yM*  Medici , Lorenzo  de . Georgio  Vasari  pinx. 

Dimensions,  13^  x iof. 

Engraved  at  Florence,  1820,  for  L.  Bardi,  whose  descendant, 
of  the  same  name,  now  owns  the  plate. 

A half  figure  seated  in  a chair,  nearly  in  profile  to  the  right ; 
the  hair  long,  but  plain.  Dressed  in  a loose  robe  trimmed  with  fur 
and  fastened  close  up  to  the  throat.  The  right  hand  rests  carelessly 
on  the  arm  of  the  chair,  on  which  is  carved  a grotesque  mask, 
while  the  left  holds  a handkerchief  partly  drawn  from  the  girdle. 
The  whole  attitude  is  one  of  deeply  engrossed  thoughtfulness. 

Lorenzo  the  Magnificent,  1449-92,  is  one  of  the  foremost 
figures  of  the  Cinque-cento  period,  but  by  no  means  in  all  respects 
a pleasing  one.  On  the  death  of  his  father  Piero,  he  at  the  age  of 
twenty-one  at  once  seized  the  reins  of  state  with  a firm  grasp,  and 
was,  chronologically,  the  second  of  the  great  men  bestowed  upon 
Italy  by  the  house  of  Medici.  In  literary  talent  he  was  immensely 
superior  to  Cosimo,  but  greatly  his  inferior  in  the  conduct  of  the 
commercial  affairs  of  the  house,  for  which  he  had  neither  aptitude 
nor  inclination.  In  politics  he  had  nobler  conceptions  and  higher 
ambitions,  but  he  was  more  easily  carried  away  by  his  passions, 
less  prudent  in  his  revenge,  and  more  disposed  to  tyranny.  “ Yet,” 
as  Guicciardini  says,  “ if  Florence  was  to  have  a tyrant,  she  could 
never  have  found  a better  or  more  pleasant  one.”  “ In  fact  all 
industry,  commerce,  and  public  works  made  enormous  progress. 
The  civil  equality  of  modern  States,  which  was  quite  unknown  to 
the  Middle  Ages,  was  more  developed  in  Florence  than  in  any 
other  city  of  the  world.  Even  the  condition  of  the  peasantry  was 
far  more  prosperous  than  elsewhere.  And  Lorenzo’s  authority 
was  not  confined  to  Tuscany,  but  was  also  very  great  throughout 
the  whole  of  Italy.”  “ Lorenzo’s  intellectual  powers  were  of  ex- 
ceptional strength  and  versatility.  He  could  speak  with  equal 
fluency  on  painting,  sculpture,  music,  philosophy,  and  poetry. 
But  his  crowning  superiority  over  every  other  Maecenas  known  to 
history  lay  in  his  active  participation  in  the  intellectual  labors  that 
he  promoted.  Indeed  at  certain  moments  he  was  positively  the 
leading  spirit  among  the  literati  of  his  time.  He  was  an  elegant 


104 


CATALOGUE  OF  PLATES. 


prose  writer,  and  was  likewise  a poet  of  real  originality.  At  that 
period  Italians  were  forsaking  erudition  in  order  to  forward  the  re- 
vival of  the  national  literature  by  recurring  to  the  primitive  sources 
of  the  spoken  tongue  and  popular  verse.  It  is  Lorenzo’s  lasting 
glory  to  have  been  the  initiator  of  this  movement.  Without  being 
— as  some  have  maintained — a poet  of  genius,  he  was  certainly  a 
writer  of  much  finish  and  eloquence,  and  one  of  the  first  to  raise 
popular  poetry  to  the  dignity  of  art.” — Professor  P.  Villari. 

He  was  a grandson  of  Cosimo  and  father  of  Giovanni  The 
latter  was  made  a Cardinal  at  fourteen,  and  afterward  became 
Pope  Leo  X. 

Trial  proof.  The  figure  in  pure  outline  etching,  the  background 
very  nearly  finished.  The  margins  uncleaned.  Brit: 
Mus.  ; F.R.H. 

do  The  background  showing  additional  work  and  made 

lighter  around  the  head.  Part  of  the  drapery,  part 
of  the  chair,  and  the  entire  head  partly  engraved. 
Brit:  Mus. 

do  Lacking  the  finishing  touches  only  throughout.  Brit: 

Mus. 

Remark  proof.  All  finished  except  the  arm  of  the  chair,  which  is  only 
partly  engraved.  Sotheby  & Wilkinson,  June  24, 
1862. 

I.  Before  all  letters.  Brit:  Mus.,  on  India  and  plain. 

II.  In  shaded  and  engraved  script : Giorgio  Vasari  dip: — Pietro  Ermini 
disegnb — Raffaelle  Morghen  inc:  1820. 

III.  The  line  with  the  artists’  names  the  same  as  in  II.  In  addition,  in 

open,  uncial  capitals  : LORENZO  DE'  MEDICI.  Brera ; Brit:  Mus., 
on  India  and  plain;  F.R.H. 

IV.  Same  letters  as  in  III.,  but  all  shaded,  and  in  addition,  in  shaded 

italics  : Firenze presso  Luigi  Bardi  e C°.  Borgo  degli  Albizzi  N°  4.60. 
Brera. 

1 18.  Messa  di  Bolsena , La.  The  Mass  of  Bolsena. 
Raff.  Sanzio  pinx. 

Dimensions,  2gf  x 22-^. 

Engraved  at  Rome,  1782-4,  after  the  original  fresco  in  the 
Sala  d’Eliodoro,  Stanze  of  the  Vatican.  The  seven  other  frescoes 


MESSA  DI  BOLSENA,  LA. 


105 


of  the  Stanze  have  been  engraved  by  Morghen’s  father-in-law, 
Volpato.  This  plate  is  now  in  the  Regia  Calcografia,  Rome. 

The  altar  is  on  a platform  which  steps  on  each  side  lead  up  to. 
The  Pope  kneels  facing  the  Celebrant  and  gazing  at  the  miracle 
taking  place  before  him,  his  hands  joined.  Behind  him  on  the 
steps  kneel  four  bishops,  and  below  them  the  Swiss  guard.  On 
the  opposite  side  the  people  raise  their  hands  in  wonder. 

The  Miracle  of  the  Mass  at  Bolsena  occurred  during  the  pon- 
tificate of  Urban  IV.,  in  1263.  On  this  occasion  one  of  the  attending 
priests — to  his  evident  amazement — discovered  the  bread  to  be 
stained  ■vC'ith  the  blood  from  the  Host.  Raphael  has  painted  a 
portrait  of  his  patron  Julius  II.  in  the  figure  of  the  Pope.  The 
controversy  in  respect  to  the  eucharist  and  “ the  manner  in  which 
the  body  and  blood  of  Christ  are  present  in  the  sacred  supper,”  had 
been  in  progress  since  731,  the  time  of  Gregory  III.;  but  the 
eventful  period  of  the  beginning  of  the  XVI.  century  again  started 
this  and  other  doctrinal  differences  into  prominence.  These 
quickly  culminated  in  the  Reformation,  one  of  the  most  important 
eras  of  all  civilization ; but  it  can  hardly  be  claimed  that  “ the  doc- 
trinal differences  ” show  many  signs  of  a satisfactory  termination 
near  the  end  of  the  XIX.  century  ! 

Trial  proof.  No  cross-hatchings  and  unfinished  in  all  parts.  Many 
blanks  in  the  figures  and  in  the  sky.  Brit:  Mus. 

I.  Before  all  letters,  and  before  the  crack  in  the  plate  above  the  heads 
of  the  men  on  the  stairs  at  the  right.  Brera,  the  margins  uncleaned 
and  with  Bossi’s  stamp. 

II.  In  shaded  and  engraved  script:  Steph.  Tofanelli  deli  — Raphe.  Mor- 
ghen  sculp.,  Joes.  Volpato  direxit  Still  before  the  crack.  Brit: 
Mus. 

III.  After  the  above  states  had  been  printed,  the  plate,  by  some  accident, 
received  a crack  on  the  right-hand  staircase  over  the  heads  of  the 
soldiers  of  the  pontifical  guard.  This  fault  appears  not  to  have 
been  observed  till  the  impressions  of  this  state  had  been  printed. 
The  line  of  the  artists’  names  is  the  same  as  in  II. ; but,  in  addi- 
tion, is,  in  large,  shaded,  uncial  capitals:  PIO  SEXTO  PONT  . MAX  . 
and  in  smaller  letters  : Joannes  Volpato  D.D.D.  Brit:  Mus. 


io6 


CATALOGUE  OF  PLATES. 


IV.  Same  lettering  as  III.  An  attempt  has  been  made  to  do  away  with 
the  blemish  by  engraving  over  it,  and  the  crack  has  almost  entirely 
disappeared.  Brit:  Mus. 

1 1 Metternich,  Clemens-N eftomuk-Lothar , 

Prince. 

Dimensions,  I4f  x iof. 

Engraved  at  Florence,  1817.  A bust,  in  profile,  turned  to  the 
left,  engraved  in  dry-point  on  a blank  background. 

Metternich  was  born  at  Coblentz  in  1773,  and  died  in  his 
eighty-seventh  year,  June,  1859.  He  remained  at  the  head  of  the 
government  of  Austria  for  the  unusually  long  period  of  nearly  forty 
years.  The  first  striking  event  that  occurred  after  his  accession 
to  power  was  the  marriage  of  Maria  Louisa,  daughter  of  the 
Emperor  Francis,  to  his  conqueror,  Napoleon,  “ a most  politic,  if 
not  a high-spirited  measure,”  and  which  it  is  pretty  certain  was 
brought  about  by  Metternich’s  exertions,  though  this  he  repeatedly 
denied.  Descended  from  an  aristocratic  family,  and  married  in 
1795  to  the  Princess  Kaunitz,  a granddaughter  of  the  famous 
minister,  his  position  in  the  highest  circle  of  the  Austrian  nobility 
was  assured.  “ He  was  a diplomatist  rather  than  a statesman. 
His  influence  was  that  of  an  expert  manager  of  individuals,  not  of 
a man  of  great  ideas.  All  his  greatest  work  was  done  before  fifty  ; 
and  at  an  age  when  most  men  are  in  the  maturity  of  their  powers 
he  had  become  tedious  and  pedantic.  His  private  character  was 
very  lovable.  He  was  an  affectionate  if  not  a faithful  husband,  a 
delightful  friend,  and  a most  tender  father.”  “ He  thought  as  an 
Austrian  and  as  nothing  else  ; his  task  was  to  serve  the  house  of 
Hapsburg,  and  this  he  did  with  singular  ability  and  success.”  “ He 
was  not  a man  of  much  faith,  but  one  belief  he  held  with  all  the 
force  of  religious  conviction, — namely,  the  belief  that  his  own  task 
and  mission  in  the  world  was  to  uphold  established  authority.  All 
efforts  to  alter  the  form  or  to  broaden  the  basis  of  government  he 
classed  under  the  same  head,  as  works  of  the  spirit  of  revolution.” 
— C.  Alan  Fyffe. 

I.  Before  all  letters.  Brit:  Mus. 


MONCADA,  FRANCESCO  DI. 


107 


II.  In  shaded  and  engraved  script:  Sna  Altezza  il  Principe  di  Metter- 
nich  In  smaller  script : Raffaelle  Morghen  incise  alia  Punta 
Secca  ed  in  attesto  di  profonda  venerazione  D.D.D.  Brera. 

III.  The  lettering  altered  to  : Seine  Durchlaucht  der  Fiirst  Clemens  von 
Metternick  [sic]  gestochen  von  Raphael  Morgen  [sic]  in  traced  let- 
ters. Brassey  coll.,  Masked. 

120.  Minerva,  seated,  writing  at  a table  wider 

which  IS  an  owl.  A vignette  engraved  as  a frontis- 
piece to  a volume  published  at  Rome  in  1779. 

“ Proof  with  autograph  in  ink,  Raph.  Morghen,  sc.”  Brassey  coll., 
Maskell. 

121%'  Moncada,  General  Francesco  di.  Van 

Dyck  pinx. 

Dimensions,  25A  x 18^. 

Engraved  at  Rome,  1792.  The  plate  was  finished  toward  the 
end  of  this  year,  having  been  begun  only  ten  months  before,  and  is 
sometimes  called  Morghen’s  Horse.  It  is  now  owned  by  Luigi 
Bardi,  Florence. 

In  an  equestrian  portrait  of  General  Franklin  Pierce,  “ de- 
signed and  engraved  on  steel  by  W.  L.  Ormsby,  N.  Y.”  a careful 
copy  of  this  horse  has  been  introduced,  with  an  absurdity  in  the 
effect  which  must  be  seen  to  be  appreciated. 

“ In  a portrait  of  the  Emperor  Paul  I.  of  Russia,  engraved  by 
T.  Plakhoff  in  1798.  the  horse  on  which  the  Emperor  rides,  and 
the  general  style  of  the  portrait,  are  copied  from  this  engraving  of 
Morghen,  1 Catalogue  of  Engraved  Russian  Portraits,’  by  D. 
Rovinsky,  in  Russian,  St.  Petersburg,  1872.” — Maskell. 

Francesco  di  Moncada  was  born  at  Valencia,  Spain,  in  i586, 
and  died  in  1635.  He  devoted  himself  to  a military  career  from 
his  youth.  He  commanded  the  Spanish  flotilla  at  the  siege  of 
Dunkerque  ; went  to  Vienna  as  ambassador  for  Philip  IV.,  and  in 
1633  took  command  of  all  the  Spanish  forces  in  the  Low  Countries. 
The  original  Van  Dyck  portrait  was  in  the  Braschi  Palace, 
Rome,  when  this  plate  was  engraved,  but  it  is  now  in  the  Louvre, 


108  CATALOGUE  OF  PLATES. 

Paris.  See  Villot;  No.  146  ; Smith’s  Catalogue  Raisonne , 143  ; 
Waagen,  Handbook , II.,  287.  Both  the  painting  and  Morghen’s 
engraving  have  been  greatly  admired.  The  latter  is  the  engraver’s 
most  ambitious  effort  in  portraits,  and  a wonderful  specimen  of  the 
art.  The  effect  is  marred  by  the  peculiar  appearance  of  the  horse 
when  compared  to  modern  equine  types  ; but  for  this  Van  Dyck 
should  be  held  accountable. 

Trial  proof.  Unfinished  throughout.  The  sky  blank  ; the  land- 
scape, especially  on  the  left,  considerably  engraved. 
The  horse  and  rider  little  more  than  outlined.  Brit: 
Mus. 

do  The  landscape  on  the  left  nearly  finished.  Parts  of 

the  sky  engraved,  and  portions  of  it  still  blank. 
The  armor,  the  lower  part  of  the  horse’s  mane, 
and  the  rider’s  left  foot  fully  engraved.  Brit: 
Mus. 

I.  The  Poggiali  Catalogue  mentions  “a  proof  before  all  letters,”  and 
states  that  only  three  such  exist,  one  being  on  vellum.  A proof 
on  vellum  “ before  all  letters  ” also  occurs  in  the  Manfredini 
Catalogue,  perhaps  the  same  alluded  to  by  Poggiali.  Also  Sir 
J.  Hippisley’s  sale,  London,  1857,  No.  hi,  £23,  icw.,  “an  artist’s 
proof  before  letters  and  arms.”  It  is,  however,  doubtful  if  before 
all  letters  is  meant  literally  in  these  cases ; or  if  they  were  such, 
probably  they  were  trial  proofs. 

II.  In  letters  so  faintly  and  minutely  traced  as  to  be  scarcely  legible: 
Antonins  Vandyck  Pinx ? — Rap1.  Morghen  soul*  Romae  1792  [sic]. 
Hermitage,  St.  Petersburg ; in  private  collection,  Milan  ; Uffizi, 
Florence,  the  letters  a little  stronger  than  on  the  other  two  im- 
pressions. 

III.  In  slightly  shaded  script : Antonins  Van-dyck  pinxit — Stephanas 
Tofanelli  delineavit — Raphael  Morghen  incidit  Romae  1793  In 
open,  traced,  uncial  capitals : PII  SEXTI  PONT.  MAX. — RESTITU- 
TORIS  ARTIUM  In  smaller,  open,  traced,  uncial  capitals : 
NOMINI  MAIESTATIQUE — inscribit  RAPHAEL  MORGHEN  The 
word  inscribit  is  in  small  letters  of  a single  line.  With  the 
arms.  Brit:  Mus.;  Brera ; F.R.H.;  Debois,  1844,  No.  704,  frcs. 


320. 


MONTE,  REDIMIBILE. 


109 


IV.  The  same  as  III.  ; but  with  the  following  additional  line  in  the  in- 
scription. In  large,  shaded  script : Imago  Equestris  in  open, 
slanted,  uncial  capitals : FRANCISCI  DE  MONCADA,  again  in 
shaded  script : Marchionis  Aytonae. 

V.  Same  as  IV. ; but,  in  addition,  in  shaded  script : Copiis  Hispanicis  in 
Belgio  Praefecti , atque  historiarum  scriptoris — quam  e praeclara  (in 
slanted  print  capitals)  VAND  YCKII  (in  shaded  script  again)  tabula 
in  acre  cestro  a se  deformatam  In  large,  shaded,  uncial  capitals  : 
PII  SEXTI  PONT.  MA X.  — RE STITUT ORIS  ARTIUM  In  smaller, 
shaded,  uncial  capitals  (except  inscribit,  which  is  in  smaller,  print 
characters  of  a single  line),  NOMINI  MAIESTAT/QUE  inscribit 
RAPHAEL  MORGHEN  The  three  following  lines  in  shaded 
script,  except  the  words  Aloysii  Braschi  Onesti,  which  are  in  open, 
slanted  uncials  : Tabula  adservatur  in  Pinacotheca  Excmi  Principis 
— ALOYSII  BRASCHI  ONESTI  Ducis  Nemorensium , Pontificiae 
levis  armaturae  equitum  Capitanei — e Magnatibus  Hispaniae  Prima 
Classis  Equitis  Magnae  Crucis  Regii  S Smae  Conceptionis 
Ordinis,  Magni  Ciamberlani,  Religionis  S.  S.  Mauritii  et  Lazari, 
Equitis  Hierosol.  &c.  With  the  arms.  Brit:  Mus.  ; Keppel ; 
Grandi. 

Morghen  himself  retouched  the  plate  for  this  state,  though 
there  are  still  no  cross-hatchings  on  the  armor.  The  retouch  has 
been  performed  with  rare  delicacy  and  skill,  and  is  scarcely  dis- 
tinguishable. 

VI.  With  the  arms  and  the  lettering  the  same  as  V. ; but  there  are  now 
cross-hatchings  on  the  armor.  Brit:  Mus.,  also  a counterproof. 


122.  Monte  Redimiblle , Vignette  heading  for  a Bond 
of  the. 

Dimensions  of  the  whole  plate,  17^  x 11. 

Engraved  at  Florence,  1800,  to  ornament  a bond  which  it  was 
proposed  to  issue  for  the  purpose  of  founding  a government  pawn- 
shop, something  after  the  plan  of  the  Mont  de  Piete,  now  in  use 
in  Paris.  The  project  fell  through  and  the  bonds  were  never 
issued. 


IIO 


CATALOGUE  OF  PLATES. 


A rectangular  vignette.  In  the  left  foreground  a draped 
female  figure  seated  on  the  base  of  a large  column,  nearly  full  face, 
but  the  right  leg  extended  to  the  right  and  showing  a sandaled 
foot.  Her  left  hand  grasps  a cornucopia,  a pair  of  scales  in  her 
right.  In  the  background  to  the  right  a distant  view  of  Florence. 
The  ribbons  which  support  the  rectangle  by  two  bows  tied  to 
nails  above  it,  are  extended  into  complicated  flourishes  on  each 
side  of  it.  On  the  ribbon  on  the  left  is,  in  shaded,  uncial  capitals  : 
sacra  fede  toscana  ; on  the  right : publica  fiducia.  Close  to 
lower  margin  of  the  vignette,  in  minute,  shaded  script : E.  Lapi 
disegn'o — R.  Morghen  inc: 

The  inscription  of  the  bond,  which  is  engraved  on  the  same 
plate,  is  throughout  in  shaded,  engraved  script,  as  follows  : above 
the  vignette,  N° — Paghero  di  Scudi — per  l' Anno  18  emesso per 

Conto  della  Comunita  di  Beneath  the  vignette,  besides  the  names 
of  the  artists  : A di  18  in  Firenze  Nel  di  primo 

Febbrajo  Milleottocento  sarct  pagato  liberamente  al  Portatore  del 
presenle  Paghero  dal  nuovo  Monte  Redimibile  effetivi  Francesconi 
la  somnia  di  Scudi  di  Lire  setle  ed'  ogn  Anno  i frutti 

al  cinque  per  Cento  dal  di  primo  Febbraio  Milleottocento  da  porsi 

in  debito  alia  Comunita  di  in  conto  di  una 

correspettiva  egual  quantita  di  Azioni  accese  in  Credito  alia  detta 
Comunita  nel  detto  Monte  in  sequela  dellaveneratissima  Legge  del 
di  ,,  1 1 ,,  Gennajo — 1800 — . Saranno  pagati  i frutti  alia 

scadenza  di  ogni  Anno  al  Portatore  del  presente  dal  detto  Monte , 
i di  cui  Ministri  staccheranno  il  respettivo  sottonotato  Mandato  di 
Frutti.  Dato  il  presente  Paghero  dalla  R.  Giunta  di  Revisione 
questo  di  e potrci  esser  questo  venduto  senza 

alcuna  formalita  di  gira , 0 cessione , e dovra  considerarsi  da 
chiunque  un  Documento  sacro,  liquido , e fruttifero  cil  Cinque  per 
Cento  di  Libera  pertinenza  di  quahmque  Portatore. 

Soprintendente  dei  Monti 
Sotto  Provrf  della  Cam “ delle  ComP; 

Segretario  della  R.  Giunta 
Vale  per  Scudi 

With  a large  blank  space  below. 


Vale  per  sc 


MORBETTO  DI  RAFFAELLO,  IF. 


iii 

On  the  margin  on  the  left,  outside  the  rectangle  enclosing  the 
bond,  in  large,  shaded,  cursive  letters  : Monte  Redimibile  eretto  con 
la  Legge  de  n = Gennajo  1800  - 

Trial  proof.  The  vignette  and  ribbons  only.  The  figure  and  the 
view  of  Florence  slightly  touched  with  the  graver  ; 
the  remainder  of  the  plate  etched  in  outline.  Brit: 
Mus. 

do  The  vignette  and  ribbons  only.  The  frame,  the 
column,  and  the  view  of  Florence  finished.  The 
figure,  the  scales,  and  portions  of  the  ground  show- 
ing very  little  engraved  work.  F.R.H. 

Remark  proof.  The  entire  plate  finished,  and  with  all  the  lettering  de- 
scribed above  ; except  that  there  is  no  inscription  on 
the  ribbons.  Brit:  Mus.  ; F.R.H. 

I.  The  entire  plate  with  the  full  lettering  as  first  described  above.  Brit: 
Mus.,  also  an  impression  of  this  state — i.  e.,  with  the  motto  on  the 
ribbons — of  the  vignette  only,  on  India  ; F.R.H. 

12  J.  Morbetto  di  Raffaello , II.  The  Plague.  Raff. 

Sanzio  pinx. 

Dimensions,  I2f  x iof. 

Begun  in  1823,  but  never  finished.  The  plate,  as  Morghen 
left  it,  is  now  in  the  possession  of  Luigi  Bardi,  Florence.  Marc 
Antonio  Raimondi  has  made  a famous  engraving  from  the  same 
original — a pen-and-ink  drawing  now  in  the  Uffizi,  Florence — 
which  was  formerly  in  the  collection  of  Charles  I.  of  England,  and 
later  in  that  of  Mr.  Th.  Dimsdale.  Its  authenticity  has  been 
questioned,  Passavant  claiming  that  a very  free  and  spirited — 
though  not  as  carefully  finished — drawing  in  the  collection  left  by 
Sir  Thomas  Lawrence  is  the  true  original.  Raphael  is  supposed 
to  have  here  delineated  the  horrors  of  the  fearful  plague  which 
devastated  Florence  in  1328.  Boccaccio’s  description  of  this  event 
— -justly  called  “ a masterpiece  of  epic  grandeur  and  vividness  ” — 
in  the  introduction  to  the  Decameron  renders  any  description 
needless.  The  subject  is  also  called  “ The  Pestilence  of  the 
Phrygians.” 

Trial  proof.  The  pure  outline  etching.  Brit:  Mus. 

do  With  a very  little  shading  on  the  head  and  portions  of 


1 12 


CATALOGUE  OF  PLATES. 


the  drapery  of  the  woman  lying  in  left  foreground, 
and  on  the  four  sheep  in  right  foreground.  Brit: 
Mus.,  three  impressions  with  immaterial  changes,  one 
on  a specially  prepared  paper. 

do  The  woman  lying  in  left  foreground,  and  the  sheep  as 

in  the  preceding.  The  head  of  the  man  bending 
over  this  woman,  holding  his  hand  to  his  face,  and 
the  upper  portion  of  the  woman  bowed  forward  in 
the  centre,  are  partly  shaded.  Over  the  cow,  on  the 
right,  are  an  indistinct  outline  of  two  draped  women 
bending  over  a recumbent  man.  In  the  centre,  in 
faintly  traced  script : R.M.  Brassey  coll.,  Masked, 
do  Same  as  preceding  ; but,  in  addition,  in  minute,  traced 

script,  under  the  woman  on  the  left  : Raffaello  da 
Urbino  disegnb  — Below  the  sheep  : Raffaello  Mor- 
ghen  incominciava  In  the  centre  : 

Non  sia  chi  di  toccarmi  abbia  ardimento : 

Che  se  non  spero  aver  man  si  famosa , 

Restar  qual  fui  lasciato  io  mi  contento. 

F.R.H. 

124.M'  Morghen , Domenica  Volpato.  Angelica 

Kauffman  pinx. 

Dimensions,  6f  x 4. 

Engraved  at  Florence,  1794.  A portrait  of  Raphael  Mor- 
ghen’s  first  wife,  to  whom  he  was  married  in  the  spring  of  1781, 
She  was  the  daughter  of  his  beloved  teacher  Giovanni  Volpato, 
who  in  his  turn  always  displayed  a great  affection  for  and  pride  in 
his  apt  pupil.  Domenica  is  represented  in  an  upright  oval,  half- 
length,  face  to  the  right,  her  hair  curling,  not  parted,  and  mostly 
covered  by  a jewelled  turban.  A mantle  thrown  back  from  the 
shoulders  displays  a low-cut,  loose-fitting  corsage.  The  eyes  are 
directed  toward  the  spectator. 

Trial  proof.  “Proof  mostly  in  outline.’’  Brassey  coll.,  Masked, 
do  “Proof  nearly  finished,  except  on  the  right  shoulder.” 

Brassey  coll.,  Masked. 

I.  Before  all  letters.  Brera,  with  marks  of  the  graver  still  left  in  the 
margin  ; Brassey  coll.,  Masked.  Very  rare. 

II.  In  minute,  shaded  script,  close  under  the  oval:  Angelica  Kauffman 


MORGHEN ; RAPHAEL. 


”3 

pinxit—Raph:  Morghen  Sculp:  1J94. . In  open,  traced,  uncial 
capitals:  DOMENICA  VOLPATO  MORGHEN.  Brit:  Mus.,  on  India 
and  plain  ; Brera,  two  impressions : one  with  this  inscription  at 
lower  left  margin  in  Raph.  Morghen’s  hand : Per  il  Sigrf  Gaetano 
Poggiali;  the  second  printed  in  dark  brown  ink,  and  in  the  lower 
left  margin,  also  written  in  Raph.  Morghen’s  hand  : Pel  Sigrf  Pog- 
giali ; F.R.H. 

1 2gM*  Morghen,  Filippo.  Guglielmo  Morghen  dis. 

Dimensions,  gf  x 7|> 

Engraved  during  a short  visit  to  Naples  in  1790.  The 
portrait  of  Raphael  Morghen’s  father,  and  earliest  instructor  in 
engraving,  from  a drawing  by  Raphael’s  brother  Guglielmo.  A 
profile  head  and  bust,  turned  to  the  right  and  facing  a head  and 
bust  of  Raphael  engraved  by  Guglielmo,  in  profile,  turned  to  the 
left,  and  on  the  same  plate.  The  reversed  portrait  of  Raphael,  No. 
126,  is  from  the  same  drawing  of  his  brother.  All  these  are  in 
dry-point  on  a blank  background. 

Trial  proof.  Filippo’s  head  only  ; touched  up  with  pencil  and  pen 
and  ink.  Brit:  Mus. 

I.  In  heavy,  shaded  script : Philippus  Morghen — Raphael  Morghen  In 

shaded  italics : Gugl.  Morghen  del. — Raphael  Morghen  sculp. — 
M.  DCC.  XC. — Gugl.  Morghen  del.  et  sculp.  1790  In  large, 
square,  print,  capital  letters  : 

NOS  INGENIO SI  MOX  DA  TURI 
PROGEN/EM  INGENIOSIOREM. 

Brit:  Mus. ; F.R.H. 

II.  Filippo’s  portrait  only  ; retouched.  In  heavy,  shaded  script : Filippo 
Morghen  Incisore  in  Rame  In  smaller,  similar  script:  A M" 
Henry  Layard  : Morghen  inc:  Brit:  Mus. 

Dimensions  of  this  plate,  8 x 5f. 

126 M*  Morghen , Raphael. 

Dimensions,  iof  x 

Engraved  at  Rome,  1787,  in  dry-point,  for  his  friend  Tom- 


CATALOGUE  OF  PLATES. 


1 14 

maso  Puccini,  at  whose  death  the  plate  passed  into  the  possession 
of  Tommaso’s  heirs,  the  Puccini  family,  at  Pistoja. 

A profile  head  and  bust  turned  to  the  right,  from  the  same 
original  as  the  preceding,  No.  125,  but  reversed  ; on  a blank  back- 
ground, except  for  some  unimportant  shading  behind  the  head. 
Raphael  is  here  represented  at  the  age  of  twenty-six. 

In  minute,  traced  script : 

Raffael  Morghen  Lncise  se  med°  alia  Punta  Secca  ~ . 
in  Segno  d' Amicizia per  il  Sigr.  Tommaso  Pticcini 
dell'  Arte  Amantissimo 

To  which  Puccini  has  added  : 

Nec  Sculpi  melius , nec  potuit  melior. 

Brit:  Mus. ; Brera,  on  India  and  plain  ; F.R.H. 

127.%  Morghen , Raphael.  Ipse  del. 

Dimensions,  Ilf  x gj. 

Engraved  at  Florence,  1819.  A profile  head  and  bust  turned 
to  the  left,  engraved  in  dry-point  on  a blank  background.  This  is 
chronologically  thirty-two  years  later  than  the  preceding,  No.  126, 
but  it  does  not  appear  so.  By  the  date,  Raphael  Morghen  should 
have  been  at  this  time  forty-eight  years  old. 

Schiavonetti  has  copied  this  plate  in  stipple.  The  original  is 
now  owned  by  Luigi  Bardi,  Florence. 

I.  Before  all  letters.  Brit:  Mus.,  on  India  and  plain. 

II.  In  unshaded  script : Raffaello  Morghen  Se  Stesso  disegnb  ed  incise  alia 
Punta  Secca  In  traced,  print  characters  : In  Firenze presso  Luigi 
Bardi  e C°  Borgo  degli  Albizzi  N°  go.  Brit:  Mus.,  on  India  and 
plain  ; Brera;  F.R.H.,  on  India  and  plain. 

III.  The  title  in  reversed , heavily  shaded  letters.  In  pencil  below  : 
Prova  unica  del  Rame  donata  da  Luigi  Bardi  all  1.  e R:  Galleria  di 
Firenze  Unico  esemplare — dello  Scritto  inciso  al  diritto — N°  1 In 
heavy  print  characters  : Raffaello  Morghen  In  heavily  shaded 
script : delineb  ed  incise  se  stesso  Brit:  Mus. 

In  the  Brit:  Mus.  there  is  also  a counterproof  of  this  state,  in 


MURAT,  JOACHIM. 


1 15 

the  lower  margin  of  which  is  written  in  pencil : N„  2. — Controcalco 
della  Prova  precedente  N° , 2 Controcalco. 

IV.  In  heavy,  shaded  script  (except  1819  and  the  last  line,  which  are  in 
print  characters) : 

Raffaello  Morghen  disegno  ed  incise  se  Stesso 
1819. 

Ai  SSJ  Fratelli  Domenico , e Gio:  Maria  Artaria 
di  Mannheim 

In  segno  di  sincera  Amicizia  Luigi  Bardi  D.D.D. 

In  Firenze  presso  Luigi  Bardi  e C°  Bor  go  degli  Albizzi  N°  460. 
Brit:  Mus. ; Brera. 

1 28 M'  Murat , Vignette  engraved  for  General 
Joachim. 

Dimensions,  8f  x 5. 

Engraved  at  Florence,  1800,  for  this  brilliant  and  dashing 
cavalry  officer,  whose  eventful  career  from  his  humble  origin  to 
royalty,  and  finally  to  an  untimely  and  unfortunate  end  forms  one 
of  the  most  interesting  histories  in  that  period  of  stirring  events. 
This  vignette  was  engraved  at  his  request  during  a visit  he  made 
to  Florence  in  this  year.  He  did  not  become  King  of  Naples  till 
eight  years  later.  He  was  born  1768  and  fell  a victim  to  his  own 
rashness  in  1 8 1 5. 

The  figure  of  Minerva  in  armor,  seated,  and  holding  in  her 
right  hand  a spear,  one  end  of  which  rests  on  the  ground.  On  her 
left  is  a heap  of  arms,  fasces,  standards,  flags,  etc. ; on  her  right  is 
a tree  of  which  only  the  trunk  and  lower  branches  are  seen.  The 
background  is  a hilly  landscape. 

I.  In  uncial  capitals  : libertL — egalitL  On  the  band : repub- 
LIQUE  FRANQOISE  Under  the  vignette:  Raffaelle  Morghen  sculp. 
In  engraved  and  shaded  script : Au  quartier  General  In  larger, 
similar  letters  : Murat  General  en  Chef  Brit:  Mus.  ; Brera. 

II.  The  same  lettering,  but  with  the  accents  on  the  final  E in  libertL 
and  egalitL  altered  to  grave  accents,  franqoise  is  changed 
into  FRANQAISE.  Brera. 


CATALOGUE  OF  PLATES. 


116 

1 2(pM'  Napoleon  I . F.  Gerard  pinx. 

Dimensions,  I7^x  12^. 

Engraved  at  Florence,  1807.  Prof.  Rosini,  through  Giuglio 
Cesare  Estense  Tassoni,  ordered  this  plate  to  serve  as  a frontis- 
piece to  the  sumptuous  edition  of  the  Code  Napoleon , published  by 
Molini,  Landi,  & Co.,  Florence,  1809,  folio.  Of  this  edition  there 
were  1 2 1 copies  printed  : 1 on  extra  large  vellum  paper,  with  the 
original  drawing  and  the  portrait  in  four  different  states  ; 3 on 
blue  tinted  paper;  12  on  double  vellum  paper  ; io5  on  ordinary 
vellum  paper.  The  plate  is  now  the  property  of  Luigi  Bardi 
Florence. 

Napoleon  the  Great  (1769-1821)  is  here  represented  in  his 
coronation  robes  at  the  period  of  his  greatest  glory,  when  all  the 
eyes  of  the  world  were  directed  to  him.  The  portrait  is  half  length, 
three-quarter  face  turned  to  the  right,  a laurel  crown  on  his  head. 
Around  his  neck  a lace  ruff  and  two  pendent  bands  of  lace  fall  on 
the  ermine-covered  breast.  He  wears  the  decoration  of  the  Le- 
gion of  Honor,  which  he  himself  instituted.  On  the  velvet  mantle 
are  embroidered  bees,  the  emblem  he  chose  as  his  own.  The 
treatment  of  the  fur  and  lace  is  particularly  skilful  and  effective. 

The  portrait  is  marred  by  the  too  great  breadth  of  the  right 
cheek — i.  e.y  the  distance  is  too  great  from  the  nose  to  the  ear. 
This  fault  exists  in  the  painting,  but  Tofanelli  exaggerated  it.  That 
it  met  with  the  approval  of  the  Emperor  appears  from  the  follow- 
ing letter  written  by  his  Minister  to  the  engraver  : “ Monsieur, 
j’ai  mis  hier  sous  les  yeux  de  Sa  Majeste  les  deux  exemplaires  de 
son  portrait,  que  vous  m’aviez  addresses.  Elle  a daigne  temoigner 
qu’elle  agreait  volontiers  cet  hommage.  Elle  a donne  des  eloges 
a votre  talent,  et  j’ai  lieu  de  croire  que  vous  recevrez  de  l’Em- 
pereur  quelque  marque  particuliere  de  sa  satisfaction.”  Morghen 
was  subsequently  decorated  with  the  Legion  of  Honor. 

Trial  proof.  The  figure  in  outline  etching  only.  The  background 
uniformly  shaded,  but  not  finished.  Brit:  Mus.  ; 
Brera  ; F.R.H. 

The  background,  the  hair,  and  the  wreath  finished  ; 
the  face  partly  engraved  ; the  rest  in  outline.  Brit: 
Mus.  ; Brera. 


do 


NAPOLEON  I. 


117 

do  Finished,  except  the  face,  which  lacks  the  final  touches 

only,  and  the  cross  of  the  Legion  of  Honor,  which  is 
still  unshaded.  Brit:  Mus. 

Remark  proof.  Finished,  except  the  cross,  which  still  lacks  the  in- 
scription around  the  head  in  the  centre  : NAPOLEON 
EMP  DES.  FRANCOIS.  Brit:  Mus. 

I.  Before  all  letters.  The  inscription  and  head  on  the  cross  are  so 
faintly  engraved  that  they  are  very  indistinct.  Grandi.  This  and 
the  Remark  proof  are  of  great  rarity. 

II.  In  shaded  and  engraved  script  : Steph:  Tofanelli  deline avit — 
Raph:  Morghen  Sculp:  Florentiae  The  head  and  inscription  on  the 
cross  are  made  more  distinct.  Brit:  Mus.,  on  blue  paper  and 
plain  ; Brera.  The  three  impressions  on  blue  paper  referred  to 
above  were  in  this  state. 

III.  The  same  as  II.  ; but,  in  addition,  in  open,  traced,  uncial  capitals: 
NAPOLEON  Brit:  Mus. ; F.R.H.  There  were  one  hundred  im- 
pressions printed  of  this  state. 

IV.  The  same  as  preceding,  but,  in  addition,  in  skeleton,  traced 
script : 

Empereur  des  Frangais,  Roi  d 'Italic, 
et  Protecteur  de  la  Confederation 
du  Rhin  . 

Brit:  Mus. ; Brera. 

V.  Same  lettering  as  in  IV.,  but  all  the  letters  more  heavily  engraved 
though  still  unshaded. 

VI.  The  same  lettering  as  preceding,  but,  in  addition,  in  the  middle  of 
the  lower  margin,  in  shaded  and  engraved  script : Florence  chez 
Molini,  Landi , et  O.  Brit:  Mus. ; F.R.H. 

VII.  Same  as  VI.,  but  with  all  the  letters  engraved  and  shaded.  Brit: 
Mus. 

VIII.  Same  as  preceding,  but  with  the  address  changed  to  Florence  chez 
Louis  Bardi  & Ce.  Brit:  Mus. 

IX.  The  plate  re-touched  throughout  and  lettered  as  in  V.,  i.  e.,  with- 
out any  address.  These  impressions  are  always  easily  distinguished 
from  the  earlier  ones  by  the  paper,  which,  in  this  state  is  modern, 
thick,  and  smooth,  showing  no  wire  marks. 


1 18 


CATALOGUE  OF  PLATES. 


i jo M*  Napoleon  I.  crossing  the  St.  Bernard 
Pass  071  a horse.  David  pinx. 

Dimensions,  28£  x 2of. 

The  etching  was  begun  by  Morghen,  in  Paris,  in  1812,  on  the 
occasion  of  his  only  journey,  but  one,  out  of  Italy.  He  carried  the 
plate  with  him  back  to  Florence,  and  there  did  some  more  work  on 
.it  in  the  next  year,  but  when  Napoleon  fell  from  power  he  left  it 
unfinished.  Very  few  impressions  (Maskell  says  four)  were  taken 
before,  at  the  request  of  the  French  Government,  the  plate  was 
sent  to  Paris,  where  it  was  finished,  and  is  now  in  the  possession 
of  the  Chalcographie  du  Louvre , where  it  is  in  use  at  the  present 
time. 

Napoleon,  seated  on  a rearing  charger  directed  to  the  left, 
but  turning  his  head  nearly  full  face,  holds  the  reins  loosely  in  his 
left  hand,  while  he  points  onwards  and  upwards  with  his  right. 
He  is  in  full  general’s  uniform,  a mantle  covering  his  shoulders, 
and  wearing  a cocked  hat.  He  is  surrounded  by  a rugged,  moun- 
tainous landscape,  in  which  some  soldiers  are  seen  toiling  up  a 
defile.  A storm  with  lightning  is  raging. 

Trial  proof.  The  sky  blank  ; the  background  mountains  uniformly 
engraved,  but  not  finished.  The  horse  and  rider  and 
the  foreground  partly  engraved — mostly  in  dry-point 
-^but  showing  many  blanks.  The  top  of  the  moun- 
tains behind  Napoleon  form  a continuous  line.  Brit: 
Mus. 

do  With  scarcely  any  additional  work,  except  that  the 

tops  of  the  mountains  behind  the  figure  of  Napoleon 
are  broken  and  lowered.  F.R.H.  This  was  the  state 
of  the  plate  when  Morghen  sent  it  to  Paris. 

1 31.  Nativity , The.  II  Presepio.  The  Adoration 

of  the  Shepherds.  Ant.  Raph.  Mengs  pinx. 

Dimensions,  23%  x i6|. 

Engraved  at  Rome,  1792,  and  the  last  plate  engraved  by 
Morghen  before  his  departure  for  Naples.  The  original  is  N?  1435 
in  the  Museo  del  Prado,  Madrid, — not  in  the  Royal  Palace, — and 
is  in  the  style  of  Correggio,  of  whose  works  Mengs  was  a diligent 


NERI,  SAN  FILIPPO. 


119 

student.  The  Virgin  displays  the  Infant  Christ  to  a wondering 
group  of  shepherds,  who  are  dazzled  by  the  light  emanating  from 
the  Infant.  Above  is  a group  of  winged  angels,  one  of  whom 
holds  in  his  hand  an  olive  branch,  and  points  downwards  ; another 
holds  a burning  censer.  This  plate,  in  which  Morghen  was 
assisted  by  Francesco  Rainaldi,  was  ordered  by  a Spanish  art 
association,  the  president  of  which  was  the  Prince  of  the  Asturias, 
and  it  was  one  of  a series  from  some  of  the  choicest  original 
pictures  in  Madrid.  The  title  of  the  work  is  Collecion  de  las 
Estampas  grabadas  a buril  de  los  cuadros  pertenecientes  al  Rey  de 
Espagna , Madrid,  1792,  et  seq.,  royal  folio.  48  plates  appeared  in 
parts,  each  part  containing  6 plates.  They  were  engraved — be- 
sides this  one  by  Morghen — by  F.  Mutaner,  B.  Amettler,  J.  Vas- 
quez,  J.  Volpato,  M.  S.  Carmona,  F.  Selma,  and  others. 

Trial  proof.  The  outline  etching  mentioned  as  unique  in  the  Pog- 
giali  Catal. 

do  Unfinished  throughout.  No  lettering.  Brera. 

I.  In  shaded  and  engraved  script:  Eq.  Ant.  Raphael  Mengs  pinxit — 
Joseph  Beraton  delin. — Raphael  Morghen  sculp.  Romae  Brit:  Mus. ; 
on  the  lower  margin  is  written  in  pencil,  evidently  as  a model  for 
the  letterer  : Esta  tabla  del  Nacimiento  que pinto  in  Roma  il  Cabal- 
lero Mengs  y esta  en  el  Real  Palacio  di  Madrid — tiene  de  alto  ocho 
pies  de  rey  y seis  de  ancho.  NB:  Che  il  Rame  della  sudetta  Incisi- 
one  sta  in  Spagna,  ne  fu  fatto  per  Commercio.  Keppel. 

II.  With  the  inscription  given  on  the  Brit:  Mus.  impression  of  I.  en- 
graved, with  the  following  alterations:  A comma  is  added  after 
Nacimiento ; the  0 in  pintb  is  accented  ; en  is  engraved  instead  of 
in;  a comma  is  added  after  Mengs ; de  Madrid  is  engraved  in- 
stead of  di  Madrid ; and  the  line  beginning  NB  is  omitted.  Brit: 
Mus.  : Keppel. 

132%  Nen , San  Filippo.  Morghen  del. 

Dimensions,  12^  x 8f. 

Engraved  at  Rome,  1787,  for  the  Padre  Carl’  Antonio  di 
Rosa,  of  the  Congregation  of  the  Oratory  at  Naples.  An  upright 


120 


CATALOGUE  OF  PLATES. 


oval  on  a base  and  surrounded  by  a shaded  rectangle.  Nearly 
full  face,  looking  at  the  spectator,  turned  slightly  to  the  left,  seated 
in  a chair  on  the  arms  of  which  his  elbows  rest.  He  holds  in  his 
hands  an  open  book.  He  is  dressed  in  the  simple  costume  of  his 
order.  His  beard,  which  is  worn  full,  is  white.  On  his  head  a 
cap.  An  architectural  background. 

Filippo  Neri,  “ one  of  the  most  remarkable  and  individual  fig- 
ures amongst  the  ecclesiastics  of  the  XVI.  century,”  was  born  at 
Florence,  July  21,  1 5 1 5.  His  father  was  an  obscure  lawyer  who 
married  Lucrezia  Soldi,  his  superior  in  social  rank.  “ His  winning, 
gentle,  intelligent,  playful,  and  yet  obedient  disposition  ” earned 
for  him,  in  his  childhood,  among  his  playmates,  the  title  of  “ il  bon 
Pippo,”  which,  at  a later  age,  in  Rome,  was  changed  to  “ Apostle 
of  Rome,”  because  of  his  devout  practices,  his  habitual,  self-im- 
posed austerities,  and  his  indefatigable  labors  among  the  poor. 
In  this  last  named  city  he  founded,  in  1548,  the  celebrated  Con- 
fraternity of  the  Sanctissima  Trinita  de’  Pellegrini  e de’  Convales- 
cente,  and  from  this,  through  his  association  with  other  priests,  he 
having  been  ordained  one  himself  meanwhile, 'he  began  the  Institute 
of  the  Oratory  in  1 556,  with  which  his  name  is  universally  associated. 

This  community  of  secular  priests  is  called  the  Congregation 
of  the  Oratory,  and  was  sanctioned  by  a bull  of  Ugo  Buoncampagno, 
Pope  Gregory  XIII.,  July  1 5 , 1 5 7 5. 

The  special  mark  which  distinguishes  Filippo  Neri’s  form  of 
ascetic  piety  from  the  types  accredited  before  his  day  was  “ practi- 
cal commonplaceness.  He  looked  like  other  men  ...  he 
was  emphatically  a modern  gentleman,  of  scrupulous  courtesy, 
sportive  gaiety,  acquainted  with  what  was  going  on  in  the  world, 
taking  a real  interest  in  it,  giving  and  getting  information,  very 
neatly  dressed,  with  a shrewd  common-sense  always  alive  about 
him,  in  a modern  room  with  modern  furniture,  plain,  it  is  true,  but 
with  no  marks  of  poverty  about  it, — in  a word,  with  all  the  ease, 
the  gracefulness,  the  polish  of  a modern  gentleman  of  good  birth, 
considerable  accomplishments,  and  a very  various  information.” 
— William  Faber. 

There  are  many  anecdotes  told  of  him  which  attest  his  pos- 


NERT,  SAN  FILIPPO. 


1 2 I 


session  of  a playful  humor,  united  with  shrewd  mother-wit,  often 
urging  him  to  acts  with  a ludicrous  aspect,  but  which  were  well 
calculated  to  serve  his  purpose  of  divesting  religion  of  the  hyper- 
professional garb  it  wore  in  his  day,  and  bringing  it  within  the 
area  of  ordinary  lay  experience.  This,  rather  than  the  atmosphere 
of  supernaturalism  with  which  he  is  surrounded  in  the  various 
biographies  of  him  which  have  appeared,  and  that  to  a much 
greater  degree  than  is  common  in  similar  writings,  is  the  true  key 
to  his  popularity,  and  to  the  fact  that  his  name  figures  often  in  the 
folk-lore  of  the  Roman  poor,  whom  he  loved  so  well  and  served  so 
long." — Rev.  R.  F.  Littledale. 

He  died  May  26,  i5g5  ; was  beatified  by  Paul  V.,  1600  ; and 
canonized  by  Gregory  XV.,  1622.  This  and  No.  133  are  best  en- 
graved portraits  of  this  truly  saintly  man. 

On  the  shaded  base,  in  heavy,  print  capitals  : s.  filippo  neri 
fondate.  della  congrege.  DELL'  oratorio  In  shaded  script  : 
Cor  meum , et  caro  meet  exultaverunt  in  Deum  vivum  Ps.  83.  v.  3. 
In  the  lower  margin,  in  shaded  script : Raf f Morghen  inc  Roma 
A divozione  del  P.  Carl'  Antonio  di  Rosa  della  Congregazione  dell' 
Oratorio  di  Napoli  Brit:  Mus.  ; F.R.H. 

133^'  The  Same.  Tofanelli  deli. 

Dimensions,  5^  x 6f. 

Engraved  at  Florence,  1802,  for  the  Padre  Camillo  del  Bono 
of  the  Roman  Oratory.  For  synopsis  of  the  Saint’s  life  see  ante , 
No.  132.  Both  were  private  plates. 

A half-length  three-quarter  face  turned  to  the  right,  in  an  oval 
surrounded  by  a rectangle,  in  the  same  costume  as  in  132,  the 
hands  crossed  on  the  breast,  the  right  holding  a rosary. 

Trial  proof.  The  drapery  and  hands  etched  in  outline  only  ; all 
the  rest  partly  engraved.  The  oval  frame  and  the 
rectangle  are  already  engraved  in  this  state.  Brit: 
Mus. 

do  Finished  except  the  hands  which  are  etched  in  out- 
line. The  margin  is  uncleaned.  Brera 

I.  Before  all  letters.  Brera,  two  impressions:  one  on  India,  the  other 


122 


CATALOGUE  OF  PLATES. 


on  plain  paper ; the  latter  has  many  marks  of  the  graver  on  the 
margins.  F.R.H.,  on  India,  signed  in  pencil  at  lower  right  corner 
Raf  Morghen  ; the  margins  cleaned. 

II.  In  small,  shaded,  and  engraved  script : Steph:  Tofanelli  inv:  et  del: — 
Raphael  Morghen  sculps:  Brassey  coll.,  Maskell ; F.R.H. 

III.  The  line  of  the  artists’  names  as  in  II.  ; but,  in  addition,  in  shaded 
and  engraved,  large,  cursive  letters  : 5.  Philippo  Nerio  Patri 
In  smaller,  similar  letters : C.  D.  B.filius  et  cliens  omnium  postre- 
missimus  patrocinio  ejus  et  ope  praesentissima  votorum  compos 
effectus.  F.R.H. 

134%  Nun , The  Portrait  of  an  Unknown . 

Dimensions,  nf  x 8J. 

Engraved  at  Florence,  1794.  A half-length,  nearly  full-face, 
standing  figure  slightly  turned  to  the  left,  the  eyes  looking  down 
and  the  hands  folded  out  of  sight  under  the  scapular,  in  an  oval 
without  a rectangle.  Almost  entirely  engraved  by  Raphael’s 
brother,  Antonio  Morghen. 

The  plate  usually  occurs  with  Raphael  Morghen  Sc:  close 
under  the  lower  right  side  of  the  oval  in  shaded  and  engraved 
script.  Brit:  Mus. ; Keppel  ; Grandi  ; F.R.H.  ; but  in  the  Pina- 
kothek,  Munich,  are  two  impressions,  one  with  Ant.  Morghen , 
the  other  with  Raph.  Morghen , etched  on  lower  right  side  of 
the  oval. 

1 35^'  Ovid.  Publius  Ovidius  Naso. 

Dimensions,  diameter, 

Engraved  at  Florence,  1794,  for  the  edition,  in  Italian,  of  the 
Amori  Ovidiani,  tradtizione  anacreontica  di  Federico  Cavriani , 
Sulmona,  1794,  3 vols.,  i2mo.  The  second  edition  of  this  transla- 
tion, Crispoli,  1802,  3 vols.,  8vo.,  also  contains  this  portrait.  A 
profile  head  to  the  right  in  a circular  medallion,  around  the  inside 
of  which  is  0THIAI02  NA2BN.  In  minute,  shaded  script,  under 
the  lower  border  of  the  circle  : Raph:  Morghen  Sculp:  1794. 

On  the  reverse  of  the  page  on  which  is  the  medallion,  in  the 
first  edition,  is  the  quotation  : 


PAINTING. 


123 


Poscimus , si  quid  vacui  sub  umbra 
Lusimus  tecum , quod  & hunc  in  annum 
Vivat,  & plures  ; age  ; die  puellis 
Barbite  Carmen. 

Horat.  Od.  32.  Lib.  1. 

On  the  verso  of  the  impression  of  the  medallion  in  the  second 
edition,  the  quotation  given  above  is  changed  to  : 

Poscimur.  Si  quid  vacui  sub  umbra 
Lusimus  tecum , quod  et  hunc  in  annum 
Vivat , et  plures  : age , die  Latinum, 

Barbite , carmen, 

Hora  t.  Od.  32  Lib.  1. 

Brit:  Mus.  ; Keppel ; F.R.H. 


136.  Painting.  La  Pittura. 
Gav.  Hamilton  pinx. 


An  emblematical  figure. 


Dimensions,  17^  x 12. 

Engraved  at  Rome,  1779,  for  the  artists  and  brothers,  Philip 
and  George  Hackert,  who  were  so  pleased  with  Morghen’s  suc- 
cess that  they  paid  him  of  their  own  accord  more  than  had  been 
stipulated,  and  at  once  gave  him  the  order  to  engrave  the  com- 
panion picture,  Poetry,  see  No.  14.5.  Philip  Hackert  was  a land- 
scape painter  of  some  success,  and  George  engraved  several  fair 
plates. 

A nearly  full-length  seated  figure  turned  to  the  right ; the 
face  seen  in  three-quarters,  and  the  eyes  looking  at  the  spectator. 
She  wears  a wreath  twined  in  her  hair  ; her  left  hand  holds  a 
drawing-board,  on  which  is  designed  a torso  ; her  right,  holding  a 
crayon,  rests  on  her  right  leg.  The  figure  is  draped,  except  the 
right  shoulder,  which  is  bare.  Two  trunks  of  trees  are  behind  her 
on  the  left ; in  the  background,  a mountainous  landscape  with  a 
volcano  in  eruption.  It  is  said  to  be  intended  as  a portrait  of 
Lady  Hamilton,  Lord  Nelson’s  friend. 


Trial  proof.  An  outline  etching  occurs  in  the  Poggiali  Catal.,  and  is 
there  termed  unique. 


124 


CATALOGUE  OF  PLATES. 


do  With  very  little  graver  work  on  the  outline  etching. 

Brera. 

I.  In  shaded,  engraved  script : Gavinus  Hamilton  Pinx ? Seydelmann 
deling — Rape!  Morghen  Sculpt  Romcs%  In  shaded,  uncial  capitals  : 
LA  — PEINTURE  . With  the  arms  and  the  mottoes  on  the  arms, 
viz. : Trough  ; Tria  Juncta  in  Uno  ; and  Sola  Nobilitat  Virtus. 

II.  The  same  lettering  as  in  I.  ; and,  in  addition,  in  large,  shaded 
script : A Son  Excellence  — Guillaume  Hamilton  In  smaller, 
shaded  script : Chevalier  de  L'  Or  dr e du  Bain,  Envois — Extraor- 
dinaire et  Plenipotentiaire  de  Sa  Maiestt  Britannique — ct  la  Cour 
de  Naples  ~ In  much  smaller  script:  humblement  dedie,  par 
son  trds  Obeissant  Serviteur,  Rap.  Morghen  To  the  left,  in 
similar,  small  script : Se  vend  chez  George  Hackert , Graveur  a Rome, 
Place  d'Espagne.  In  minute,  shaded  script:  Tirt du  Cabinet  — 
de  S.  E.  With  the  arms,  as  in  I.  Brit:  Mus. ; Brera  ; F.R.H. 

III.  Same  lettering  as  the  preceding,  but  with  the  address  changed  to 

Naples:  i.  e.,  instead  of  “ Se  vend  chez  George  Hackert  ” etc.,  read, 
a Naples  chez  George  Hackert  Graveur  de  S.  M.  le  roi  de  [sic] 
Deux  Sidles  . Avec  Privilege  [sic].  Brit:  Mus. ; Brera. 

IV.  The  same,  with  the  address  changed  to  Florence.  Maskell. 

1 3 J . PcirnCISSUS . Apollo  and  the  Muses.  Raff.  Mengs 

pinx. 

Dimensions,  30  x 19J. 

Engraved  at  Rome,  1784,  after  the  famous  original  in  the 
Villa  Albani.  This  and  La  Caccia  di  Diana,  No.  go,  were  en- 
graved in  the  same  year,  and  are  pendants,  though  from  widely 
separated  originals  by  different  painters.  In  the  beginning  of  this 
year  Morghen  had  entered  into  a partnership  with  Giovanni 
Volpato,  his  father-in-law  and  teacher.  The  two  figures  furthest 
to  the  right,  i.  e.,  Melpomene  and  Polyhymnia,  were  almost  wholly 
engraved  by  the  inferior  hand  of  Morghen’s  young  pupil  and 
friend,  Francesco  Cecchini,  who  died  soon  afterwards. 

Apollo,  crowned  with  a wreath,  stands  on  a slight  elevation  in 
the  centre  of  the  composition,  nude,  except  for  a mantle  thrown 


PAUL,  ST.  VINCENT  BE. 


125 


round  his  neck.  In  his  left  hand  is  a lyre,  his  right  holds  aloft  a 
wreath  of  bays  ; behind  him  a recumbent  river-god,  from  whose 
urn  a stream  of  water  flows.  On  Apollo’s  left  are  five  muses  ; on 
his  right,  four  more,  besides  a fifth  figure,  viz.,  the  one  dancing 
with  Terpsichore.  These  ten  are  classically  draped.  Close  be- 
hind these,  in  the  centre  and  on  the  left,  some  trees.  The  back- 
ground, a mountainous  landscape  on  the  left,  a plain  on  the  right. 

Trial  proof.  The  outline  etching.  Mentioned  in  the  Poggiali  Catal. 
do  Unfinished  throughout,  most  of  the  figures  merely  out- 

lined. Brera. 

I.  Before  all  letters.  According  to  Maskell  there  were  seven  impres- 
sions of  this  state  printed.  Brit:  Mus.,  two  impressions,  one  with 
the  margins  uncleaned,  the  other  with  them  cleaned.  Brera  ; 
F.R.H. 

II.  In  shaded  script:  Ant.  Raph.  Mengs  pinx. — Raphel  M or ghen  sculp. 
Romae  In  shaded  uncial  capitals:  LUDUNT  AONIAE  PARNASSI 
IN  COLLE  SORORES—STAT  MEDIUS  LAURO  CYTHARAQUE  INSIG- 
NIS  APOLLO  In  large,  shaded  script : A.  Giuseppe  Niccola  de  Azara 
Miniss0.  Pleni0.  di  S.  M.  Carlo  III.  RI  di  Spagna  presso  la  S**  di 
Pio  VI.  In  smaller,  shaded  script : Gion?  Volpato  e Raf.  Morghen 
D.D.D.  Brit:  Mus.;  Keppel ; Grandi.  This  and  the  preceding 
state  are  said  to  be  printed  on  paper  showing  the  water-mark 
“ Pietro  Miliani  di  Fabriano,”  but  this  is  not  the  case  in  all  im- 
pressions of  these  states.  The  impression  of  I.  in  the  collection 
of  F.R.H.  mentioned  above  has  no  such  water-mark.  All  the  im- 
pressions are,  however,  on  old  paper. 

III.  The  same  lettering  as  in  II.,  but  “ with  the  leaf.”  This  was  added 
at  Rome  several  years  later. 

1 38 M*  Paul , St.  Vincent  de. 

Dimensions,  2f  x 4J . 

Half-length  figure  never  fully  finished.  Brit:  Mus.,  in  pencil 
below  : St.  Vincent  de  Paul  Morghen. 

Vincent  Depaul  (so  written  in  all  authenticated  signatures) 
was  born  at  Pouy,  near  Dax,  April  24,  1576  ; and  died  at  Paris, 


126 


CATALOGUE  OF  PLATES. 


Sept.  27,  1660.  He  was  the  originator  of  foundling  asylums  and 
hospitals,  Sisters  of  Charity,  Lazarists,  Pretres  de  la  Mission  and 
similar  charitably  religious  bodies.  His  influence  for  all  good 
works  of  this  kind  was  very  great  and  acknowledged  during  the 
latter  part  of  his  life.  Beatified  by  Benedict  XIII.,  1629,  he  was 
canonized  by  Clement  XII.  June  16,  1737 


i jy.  Pentini,  Vignette  for  the  Marquis  Ulisse. 

Dimensions,  4^  x 3|. 

Engraved  at  Rome,  178 7,  as  a visiting-card.  A view  of  the 
Monte  Cavallo,  Rome  ; in  the  centre  a public  square  containing  a 
pyramid  flanked  by  a group  of  a man  and  a horse  on  each  side. 
In  the  distance,  the  dome  of  St.  Peter’s.  In  the  right  foreground 
a house  ; on  the  left  a wall,  on  which,  in  open,  uncial  capitals  : 
ulisse  pentini.  At  the  lower  right  corner,  in  shaded  script  : 
Raffaelo  Morghen  sculpt. 

I.  Finished,  and  with  Raffaelo  Morghen  sculpi  ; but  before  the  ULISSE 
PENTINI  on  the  wall.  F.R.H. 

II.  As  first  described  above.  Brit:  Mus. 

III.  The  same  as  II.,  but  sculpi  is  changed  to  inc.  Brera. 

140M'  Pessuti , Arianne. 

Dimensions,  2f  x 2^. 

Engraved  at  Leghorn,  1812,  for  a visiting-card.  A small 
profile  head  turned  to  the  left  on  a blank  background,  executed  in 
dry-point.  Arianne  Pessuti  is  said  to  have  lived  with  Raphael 
Morghen  on  very  intimate  terms,  Close  under  the  head  in  minute, 
traced,  script  capitals  : R.  M.  Below,  in  engraved  and  shaded, 
cursive  letters  : Arianne  Pessuti  Brit:  Mus. ; F.R.H. 

ipiiQ'  Petr  area,  Francesco.  Stef.  Tofanelli  del. 

Dimensions,  13  x <g. 

Engraved  at  Florence,  i8o5,  for  Le  Rime  di  Petr  area,  della 
Tipografia  della  Societa  Letteraria , Pisa,  i8o5,  2 vols.  fob,  pub- 
lished under  the  direction  of  Prof.  Gio.  Rosini.  Of  this  edition 


PETRARCA , FRANCESCO. 


127 


there  were  260  copies  printed,  one  on  vellum.  The  portrait  is  a 
companion  to  Ariosto,  Boccaccio,  Dante,  and  Tasso. 

Francesco  Petrarca,  “ eminent  in  the  history  of  literature  both 
as  one  of  the  four  classical  poets  and  also  as  the  first  true  reviver 
of  learning  in  mediaeval  Europe,”  was  born  at  Arezzo,  in  Tuscany, 
July  20,  1304.  He  died  at  Arqua,  July  18,  1374.  His  father’s 
name  was  Petracco.  In  his  later  years  he  was  the  affectionate  and 
lasting  friend  of  Boccaccio.  Petrarca’s  name  cannot  be  mentioned 
without  recalling  that  of  his  Laura,  whose  supposed  portrait 
Morghen  has  likewise  engraved.  Petrarca  first  saw  her  in 
Avignon  in  1372,  but  her  identity  is  still  shrouded  in  mystery  ; 
many  even  doubting  her  actual  existence  outside  the  poet’s  brain. 
An  inspection  of  the  attempted  bibliography  of  this  writer  by 
Domenico  Rossetti,  Trieste,  1822,  will  give  a good  idea  of  the 
activity  of  his  literary  life  and  the  multiplication  of  the  editions  of 
his  writings.  See  also  Symond’s  Renaissance  in  Italy , vols.  II. 
and  IV.  ; and  Tiraboschi’s  Storia  della  letteratura  italiana,  Milan, 
1822-6. 

A half-length,  nearly  full-face  figure  turned  slightly  to  the  left. 
The  head,  except  the  face  and  the  throat,  is  covered  by  a close- 
fitting  hood  which  falls  on  the  shoulders.  He  wears  a laurel 
wreath  over  the  hood,  and  around  his  neck  a strip  of  fur.  He  is 
clothed  in  a loose,  pleated,  linen  gown.  The  left  arm  is  laid  across 
his  breast,  and  in  the  hand  is  held  a closed  book  with  opened 
clasps.  A strong  and  beautiful  portrait. 

Trial  proof.  The  background,  the  book,  and  the  left  side  of  the 
hood  partly  engraved.  The  rest  in  outline.  Brit: 
Mus.,  2 impressions  without  any  material  difference 
between  them. 

I.  Before  all  letters.  Brit:  Mus.,  on  India  and  plain  ; Brera,  on  India, 
on  the  lower  margin  in  pen  and  ink : Prova  scelta per  V Ornatissimo 
Sig r Gaetano  Poggiali 

II.  In  minute,  unshaded,  traced  script : Stefano  Tofanelli  delineb — Raf- 
faello  Morghen  incise  in  Firenze  Brit:  Mus. ; F.R.H. 

III.  The  line  of  the  artists’  names  unchanged ; but,  in  addition,  in  open, 
traced,  uncial  capitals  : FRANCESCO  PETRARCA  Brit:  Mus. 


128 


CATALOGUE  OF  PLATES. 


IV.  The  artists’  names  and  the  title  as  in  III. ; but,  in  addition,  in  small, 
traced  script : Luigi  Bardi  impresse.  Grandi. 

V.  The  same  lettering  as  in  IV.  ; but  all  the  lettering  engraved  and 
shaded.  Brit:  Mus. 

1 4.2 . Philosophy . An  emblematical  figure.  Raff.  Sanzio 

plflX.  Dimensions,  i6f  x I4|. 

Engraved  at  Rome,  1782  or  3,  from  the  original  in  fresco  on 
the  ceiling  of  the  Camera  della  Segnatura,  Stanze  of  the  Vati- 
can above  the  lunette  containing  Raphael’s  “ School  of  Athens.” 
Passavant,  II.,  73.  It  is  a companion  to  the  emblematical  figures 
of  Justice , Poetry , and  Theology.  These  were  engraved  in  the  fol- 
lowing order  : Poetry,  Theology,  Philosophy,  and  Justice.  This 
plate  and  that  of  Justice  were  prepared  by  Morghen  in  outline  and 
then  handed  over  to  the  pupils  in  Volpato’s  school  to  engrave. 
The  work  of  these  pupils  was  constantly  directed  by  Volpato  and 
Morghen  and  the  finishing  touches  were  executed  by  the  latter. 
The  plate  is  now  in  the  possession  of  the  Calcografia  Camerale  at 
Rome. 

Trial  proof.  The  outline  etching  with  very  little  engraving.  The 
margins  showing  trial  marks  of  the  graver.  Brit: 
Mus.;  Brera. 

I.  Before  all  letters.  Brera;  F.R.H.,  2 impressions. 

II.  “ In  faintly  traced  script : Raph.  Sanctius  Pinxit — Bernardinus  Nocchi 
del. — Raph.  Morghen  Sculp.  Joh.  Volpato  direxit  ” Grandi. 

III.  The  same  lettering  as  in  II. ; but  all  the  letters  shaded,  and,  in  addi- 

tion, after  Volpato  direxit  is  in  shaded  script : et  Vendit  Romae 
In  large,* shaded,  uncial  capitals:  PHILOSOPHIA  And  in  shaded 
script:  Piet  a in  for  nice  imminet  tabulae  ( vulgo ) la  Scuola  d'Atene 
Brit:  Mus. ; Brera. 

IV.  The  Calcografia  Camerale  impressions.  The  plate  is  practically  re- 

engraved throughout  and  the  impressions  are  effective,  but  retain 
very  little  of  the  original  plate  beyond  the  outline.  These  im- 
pressions are  printed  on  modern,  smooth,  thick,  white  paper.  In 
the  inscription  the  et  Vendit  Romae  is  omitted  ; and  after  Atene  is 
added  : Roma,  presso  la  Calcografia  Camerale  Keppel. 


PIUS  V.,  POPE. 


129 


143M'  Pittaro,  Doctor  Antonio , M.D.  Atoche 

pinx. 

Dimensions,  7f  x 5J. 

Engraved  at  Florence,  1822,  as  a token  of  friendship  to  the 
Doctor,  who  was  living  in  Paris,  and  afterwards  inserted  this  por- 
trait in  his  works.  Raphael’s  brother,  Antonio,  and  his  friend, 
Antonio  Perfetti,  had  a share  in  the  engraving.  Nearly  half-length 
in  a circular  medallion.  A young  man  with  thick,  short,  natural 
hair,  standing  bareheaded,  three-quarter  face  to  the  right,  wearing 
a high  collar  and  waistcoat,  and  a coat  of  the  period  buttoned 
across  the  chest  and  with  a rolling  collar.  In  the  background, 
across  the  Bay  of  Naples,  Vesuvius.  In  the  left  background  a 
light-house  on  a jetty. 

Trial  proof.  Unfinished  throughout,  the  head  blank.  Brit:  Mus. 
do  Same  as  preceding,  but  with  the  head  etched  in  out- 

line. Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus. ; F.R.H. 

II.  All  the  following  inscription,  in  shaded  script,  around  the  upper  edge 
of  the  circle:  Antonio  Pittaro  Dottor  fisico  Medico  Forense  della 
Corte  Reale  di  Parigi  &c.  Close  under  the  circle  : Cr  Raff f Mor- 
ghen  inc: — Atoche p:  d.  1817^  Below  this: 

Dal  suolo  Bonzio  al  Filagreo  educato, 

Bastando  solo  a se  medesimo  £ sorto 
All'  Amistct  dev oto  al  simil grato 
L'  Onesto,  il  giusto  ei  siegne  ; sempre  accorto 
Consola  gli  egri,  oppur  restora,  0 Sana  ! 

II  vero  e A usonia  egli  ama.  Per  conforto 
L'  Opre  ei  contempla , di  Mondial  Sovrana  ! 

c E P 

Brit:  Mus. 

144%  Pius  V.,  Pope.  UK.  del. 

Dimensions,  7-|  x 5^. 

Engraved  at  Rome,  1790,  for  Count  Fiorenzi  di  Osimo,  who 
possessed  the  original  crucifix,  the  object  of  the  miracle. 


130 


CATALOGUE  OF  PLATES. 


Michael  Ghislieri,  elevated  to  the  papacy  in  i566  with  the 
title  of  Pius  V.,  was  succeeded,  at  his  death,  by  Ugo  Buoncom- 
pagno,  Gregory  XIII. ; and  was  preceded  in  his  apostolic  office 
by  Giovanni  Angelo  de’  Medici,  Pius  IV.  Pius  V.  was  born  at 
Boschi,  i5o4,  beatified  by  Clement  VIII.,  and  canonized  by 
Clement  XI.,  in  1712.  He  died  in  1572.  He  excommunicated 
Elizabeth  of  England. 

Trial  proof.  The  background  and  some  of  the  outlines  engraved. 

The  rest  etched  in  outline.  Brit:  Mus. 
do  Lacking  only  the  finishing  touches.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus.,  two  impressions,  one  much  damaged. 
II.  In  small,  shaded  script,  at  lower,  right  corner : Raf.  Morghen  sculp 

In  large,  shaded  script  : Vera  Effigie  di  S.  Pio  V.  In  smaller, 
shaded  script : 

II  Crocifisso  miracoloso,  che  qui  si  rappresenta, 
si  conserva  nelT  Oratorio  privato  del 
Signor  Conte  Fiorenzi  in  Osimo 
Brit:  Mus.,  on  bluish  paper  ; Brera  ; F.R.H. 


145.  Poetry. 


Gavino  Hamilton  pinx . 

Dimensions,  17^  x 12J. 


Engraved  at  Rome,  1780,  as  a companion  to  Painting,  No. 
1 36,  for  the  brothers  Filippo  and  Georgio  Hackert.  Morghen,  in 
this  plate,  excelled  his  previous  effort,  viz.,  Painting. 

A nearly  full-face,  winged,  seated  figure  turned  to  the  right, 
her  eyes  directed  upwards.  On  the  head  is  a wreath.  She  holds 
a lyre  in  her  left  hand  which  she  is  in  the  act  of  striking  with  the 
plectrum  grasped  in  her  right.  Beneath  is  a scroll  on  which  is 

DESCENDE  CCELO. 


Trial  proof.  The  outline  etching.  Mentioned  in  the  Poggiali  Catal. 
where  it  is  called  unique, 
do  With  very  little  engraving.  Brera. 

I.  In  shaded  and  engraved  script:  Gavinus  Hamilton  Pinx [ — R aphe} Mor- 
ghen Sculp ? Romce  In  shaded,  uncial  capitals:  LA  POESIE. 
With  the  arms.  Brit:  Mus.  ; Brera. 


POETRY. 


131 

II.  With  the  lettering  of  the  preceding  ; but,  in  addition,  in  large, 
shaded  script : A Son  Excellence — Le  Chevalier  Acton  In 
smaller,  shaded  script : Commendeur  [sic]  de  T Ordre  Royal  et  Mili- 
taire — de  S * Etienne,  Lieutenant  General,  et  Directeur  de  la 
Marine — de  sa  Maieste  [sic]  Sicilienne,  et  Son  Secretaire  d'Etat, 
pour  le  Departemens  [sic]  de  la  Guerre  et  de  la  Marine.  In  still 
smaller  script : Se  vend  chez  George  Hackert,  Graveur  a Rome, 
Place  d'Espagne — humblement  dedid  par  Son  tres  Obeissant  Servi- 
teur,  Raph.  Morghen  Brit:  Mus. ; Brera. 

III.  Same  lettering,  uncorrected  throughout ; but,  instead  of  Se  vend 

chez  George  Hackert  etc.,  the  address  is  : a Naples  chez  George 
Hackert  Graveur  de  S.  M.  le  Roi  de  [sic]  Deux  Sidles.  Avec 
Privilege  [sic].  Brera. 

IV.  “ 3d  edition  sold  at  Florence.”  Brassey  coll.,  Maskell. 

I/J.6.  Poetry.  Raff.  Sanzio  pinx. 

Dimensions,  16 J x I4f . 

Engraved  at  Rome,  1781,  after  the  original  fresco  on  the 
ceiling  of  the  Camera  della  Segnatura,  Stanze  of  the  Vatican,  over 
the  lunette  representing  Parnassus.  The  plate  is  now  owned  by 
the  Calcografia  Camerale,  Rome. 

A winged,  draped  figure,  seated,  and  holding  with  her  left 
hand  a lyre,  with  her  right  a closed  book.  Full  length,  the  face 
three  quarters  turned  to  the  left.  On  her  right  is  a nude,  winged 
boy  holding  a tablet  on  which  is  numijve,  while  on  her  left  a simi- 
lar boy  holds  a tablet  with  the  insciption  affla  tur.  A circle  in  a 
rectangle. 

Volpato,  Morghen’s  teacher,  was  greatly  pleased  with  this 
plate,  which — with  the  Theology — was  engraved  to  his  order. 
When  Morghen  had  finished  the  latter,  Volpato  showed  his  high 
appreciation  of  the  young  engraver’s  success  by  giving  him  his 
daughter  in  marriage.  It  is  a companion  plate  to  those  of  Justice, 
Philosophy,  and  Theology. 

Trial  proof.  The  Poggiali  Catal.  mentions  an  outline  etching. 

do  With  very  little  graver-work.  Brera,  no  margin  and 

on  soiled  paper. 


132 


CATALOGUE  OF  PLATES. 


I.  Before  all  letters.  Grandi. 

II.  In  shaded  and  engraved  script:  Raphe!  Santius  [sic]  Pinxit.— 
Bernardinus  Nocchi  delineavit. — Raphe!  Morghen  Sculp \ Johef 

Volpato  direhxit.  [sic.]  Brit:  Mus. ; Brera  ; F.R.H. 

III.  The  same  lettering  as  in  the  preceding,  II.;  and,  in  addition,  after 

direhxit.  et  Vendit  Rotnae.  and  in  large,  shaded,  uncial  capitals  : 
POESIS  and  in  shaded  script : Picta  in  fornice  imminet  Parnasso 
~ Brit:  Mus. ; Brera. 

IV.  The  Calcografia  Camerale  impressions,  practically  re-engraved 

throughout,  et  Vendit  is  erased ; and  below  is  added,  in  small, 
shaded  script : Roma , presso  la  Calcografia  Camerale. 


1 4.7.  Poetry.  Carlo  Dolci  pinx. 

Dimensions,  12}  x 9. 

Engraved  at  Florence,  1827,  after  the  favorite  and  famous 
original  in  the  Corsini  Gallery,  Florence.  It  is  necessarily  omitted 
by  Palmerini,  his  last  (3d)  edition  having  been  published  in  1824. 
In  spite  of  Morghen’s  inscription  on  this  plate  : Hie  Labor  ex- 
tremis &c.,  he  subsequently  undertook  to  engrave  the  small  plate 
of  the  Madonna  della  Seggiola,  No.  10 1,  which  he  had  etched  in 
1793,  but  he  did  very  little  of  the  engraving  on  it,  and  he  did  some 
slight  work  on  one  or  two  other  plates. 

A nearly  half-length  figure,  three-quarter  face  to  the  right, 
crowned  with  a thick  laurel  wreath,  which  almost  conceals  the  hair, 
allowing  a lock,  however,  to  fall  on  the  back  of  the  right  shoulder. 
She  wears  a close-fitting  waist  embroidered  with  seven-pointed 
stars.  It  is  cut  low  on  the  breast,  but  is  filled  in  with  pleated 
linen  to  the  throat.  On  the  breast  is  a bow  of  ribbon  fastened  by 
a brooch  or  buckle.  The  edge  of  a closed  book  held  in  the  left 
hand  is  visible. 


Trial  proof.  The  outline  etching  except  the  background  and  some 
few  shades  on  the  wreath  which  are  slightly  worked 
with  the  graver.  Brit:  Mus. 

do  The  face,  neck,  hair,  stomacher,  the  stars  on  the  dress 

(except  one,  which  is  engraved)  still  blank  ; as  also 
is  the  buckle.  Brit:  Mus. 

do  The  hair  touching  the  shoulders,  two  of  the  stars  on 


PROPHETS,  EIGHT  FIGURES  OF  THE. 


133 


the  dress,  and  also  the  stomacher  are  engraved, 
though  none  are  finished.  Brit:  Mus. 
do  “ Proof,  two-thirds  finished,  the  face  still  in  outline 

and  with  a few  touches  on  mouth  and  eyes.” 
Brassey  coll.,  Masked. 

do  Lacking  only  the  final  touches  ; except  the  neck,  three 

stars,  and  the  buckle,  which  are  blank.  Brit:  Mus. 
Remark  proof.  “With  the  white  buckle.”  Finished  except  for  the 
buckle  or  brooch,  which  is  still  blank.  Brit:  Mus. 
Very  rare. 

I.  Before  all  letters.  F.R.H. 

II.  In  shaded,  engraved  script  : Carlo  Dolci  dipinse — Pietro  Ermini 
dis: — Raffaello  Morghen  inc:  1827.  Brit:  Mus.;  F.R.H.,  with 
Morghen’s  stamp. 

III.  The  same  lettering,  but  with  the  arms.  Brit:  Mus.;  F.R.H. , on 

vellum  and  on  India,  both  with  Morghen’s  stamp. 

IV.  The  line  of  the  artists’  names  as  in  II.,  with  the  arms,  and,  in 

addition,  in  shaded,  uncial  capitals : LA  POESIA  A SUA  ECCzd 
IL  SIGre  PRINCIPE — DON  TOMMASO  CORSINI  In  shaded  script : 
Grande  di  Spagna  di  prima — Classe,  Consigliere  di  Stato  e Ciam- 
bellano  di  S ,,  A ,,  /„  e R ,,  il  Granduca  di  Toscana  Cav.. 
Prior e dell'  Ord:  Militare — di  S ,,  Ste/ano,  Gran  Croce  dell'  Ord: 
di  S „ Giuseppe,  Officiale  della  Legion  d'Pnore  &c.  &c.  In 
italics,  at  left  lower  corner  : L' Originale  esiste  presso  la  Sudd f Ecc f 
Sua  Luigi  Bardi  impresse  In  the  middle  of  the  lower  mar- 
gin, in  still  smaller  italics : Hie  Labor  extremus  validus  compesco 
senilem  Peccet  ne  posthac  in  mea  damna,  manum.  At  lower 
right  corner  in  larger,  shaded  script : Raffaello  Morghen  D.D.D. 
Brit:  Mus.,  with  the  Morghen  stamp. 

V.  The  lettering  unchanged,  but  always  without  the  Morghen  stamp, 
i.  e “ R.  M.,”  and  generally  with  Luigi  Ricceri’s  stamp,  i.  e., 
“ L.  R."  The  latter  now  owns  the  plate.  Grandi. 

148.  Prophets , Eight  Figures  of  the.  Baccio 

Bandinelli  sculp,  in  marmore. 

Dimensions,  8f  x *j\. 

Engraved  at  Naples,  1770,  and  the  engraver’s  earliest  produc- 


134 


CATALOGUE  OF  PLATES. 


tion  except  possibly  the  two  landscapes  after  Londonio,  Nos.  755 
and  156,  and  2 7,  by  Raphael  Morghen  who  was  at  the  time  a mere 
boy.  The  original  bas-reliefs  are  in  the  choir  of  the  metropolitan 
church  of  Santa  Maria  dei’  Fiore,  Florence.  The  eight  figures 
engraved  by  Raphael  are  those  numbered,  at  the  right  upper 
corner,  57,  58,  75,  76 , 81,  82,  85,  86.  The  others  were  engraved 
by  Filippo,  Raphael’s  father,  or  by  some  pupil  in  his  school.  The 
plates  were  kept  in  the  possession  of  the  Morghen  family  for  some 
time,  and  were  then  sold  to  the  printseller,  Gervasi,  after  which 
they  were  lost  sight  of.  The  series  of  the  eight  is  in  the  Brit: 
Mus.  where  each  is  signed  in  pencil  : R.  M.  sc:  Napoli. 

I p <p.  Repose  Ifl  Egypt,  The.  NIC.  Poussin  pinx. 

Dimensions,  244  x 21J. 

Engraved  at  Rome,  1788,  after  the  original  in  the  Rospigliosi 
Palace,  Rome.  The  Virgin,  seated,  holds  the  Infant  Jesus  on  her 
knees.  Attending  angels  offer  him  milk  and  honey  and  scatter 
flowers  from  above.  On  the  left  the  recumbent  figure  of  St. 
Joseph  sleeping ; on  the  right  an  elephant ; in  the  distance  an 
ass  carrying  a load  of  baggage.  Neither  this  plate  nor  that  of  the 
Seasons  can  be  said  to  be  successfully  handled  or  to  represent 
fairly  the  original  paintings,  though  both  show  technical  skill.  M. 
Georges  Duplessis  is  almost  justified  in  saying  (Hist,  de  la  Gravure 
en  France,  Paris,  1861,  p.  164)  : “ R.  Morghen  grava,  d’apres 
Poussin  deux  pieces  qui  pourraient  compromettre  la  reputation  de 
ce  maitre  si  elle  n’  etait  pas  si  justement  et  si  solidement  etablie  : 
le  Repos  en  Egypte  et  le  Temps  faisant  danser  les  Saisons  sont 
peut-etre  les  deux  planches  les  plus  absolument  faibles  qu’on  ait 
gravees  d’  apres  Poussin.  Sous  une  apparente  habilete  et  a trav- 
ers  une  science  incontestable  de  gravure,  le  dessin  est  tellement 
neglige,  que  l’oeuvre  du  maitre  est  totalement  defiguree.”  Both 
these  plates  are  now  in  the  possession  of  Luigi  Bardi,  Florence. 

The  careless  and  inaccurate  drawings  from  which  several  of 
Morghen’s  plates  were  engraved  are  often  greatly  to  blame.  It  is 
to  the  defective  drawing  that  such  an  unsatisfactory  reproduction 
of  the  original,  as  occurs  in  this  case,  is  due. 


ROCCELLA,  PRINCESS , ETC. 


135 


I.  In  engraved,  unshaded  script:  Nicolaus  Poussin  pinx\ — Stephanus 
Tofanelli  deling — Raph.  Morghen  sculps  Romae  Grandi. 

II.  The  line  of  the  artists’  names  the  same  as  in  I.  ; but,  in  addition,  in 
large,  traced  script : Ferdinando  III  Austriaco — Magno  Hetruriae 
Duci  In  smaller  script,  also  traced  : Joannes  Volpato  et  Raphael 
Morghen  D.D.D.  With  the  arms.  Brit:  Mus.  ; Brera. 

III.  The  same  lettering  as  II.  ; but  all  the  letters  shaded,  and  in  addi- 
tion, after  Romae,  in  shaded,  uncial  capitals:  BUTYRUM  ET  MEL 
COMEDET  UT  SCI  A T—REEROBARE  MALUM  ET  ELIGERE  BONUM 
in  smaller  letters : A Isaiae  VII.  15.  Also  after  Duci,  in  small, 
shaded  letters  : In  Aedibus  Rospigliosiis.  With  the  arms.  Brit: 
Mus. 

150 % Roccella,  The  portrait  of  the  Pi incess 
della , and  three  illustrations  for  her 

Works.  Fidelis  Fischietti  del. 

Dimensions,  lo£  x 8-|. 

Engraved  at  Rome,  1782-3,  fora  collection  of  the  Princess’ 
fugitive  pieces  entitled  : Versi  e Prose , a volume  privately  printed 
by  the  Prince  della  Roccella  in  memory  of  his  deceased  wife. 
The  printing  was  sumptuously  executed  by  Boldoni,  Parma,  1784, 
small  4to. 

The  Portrait , to  face  the  title.  A head  and  bust,  full  face,  in 
an  oval  surrounded  by  an  ornamented  rectangle.  Around  the 
medallion  laurel-branches,  and  a laurel-wreath  above  it.  On  the  base 
beneath  are  three  cupids.  Above  the  oval  a fringed  curtain  is 
looped  up.  The  entire  background  represents  drapery.  On  the  base 
of  the  pedestal  in  open,  uncial  capitals  : liviaqvaefveratvivens, 

ENADSPICECASTVM  PE  CTV SE  TIN  GEN  I VMPINGERE  QUIS  POTERAT? 

In  smaller  letters  : fran.  daniel.  In  the  lower  margin,  in 
minute,  shaded  script  : Fidelis  Fischietti  Pic.  inv.  et  delin. 
Neap.  — Raph.  Morghen  Seal.  Romce  Joan.  Volpato  direxit. 

Brit:  Mus.  ; Brera  ; F.R.H. 

Illustration  to  face  page  1.  A winged  figure  seated  on  the 
right  is  writing  on  a scroll  held  on  her  knee  in  her  left  hand,  and 


136 


CATALOGUE  OF  PLATES. 


is  looking  up  at  a monument  decorated  with  hieroglyphics.  On 
the  front  of  this  monument  are  the  two  sides  of  a circular  medal- 
lion. On  the  upper  medallion,  in  open,  uncial  capitals  : dilexit ; 
and,  in  smaller,  uncial  capitals  : conivgalis  monvmentvm  amoris 
Around  the  profile  head  of  the  Princess,  in  the  lower  medallion,  in 
large,  open  capitals  : livia -ab-a  vria -karapha-s-r-i-e t-amphissien- 
sivm-pr.  Under  the  profile,  in  small,  uncial  capitals:  rapta- vi- 
ral- feb-  cijij cclxxviiip AN'N% xxxiiii  In  lower  margin,  in 

minute,  shaded  script  : Fidelis  Fischietti  inv.  et  deli. — Raph.  Mor- 
ghen  Scul.  Romce.  Joan.  Volpato  direxit.  Brit:  Mus.  ; Brera  ; 
F.R.H. 

Illustration  to  face  page  61.  A female  figure  holding  in  her 
left  hand  an  open  book,  and  with  her  right  pointing  toward  a 
monument  on  the  left  of  the  plate,  on  which  is,  in  shaded,  uncial 
capitals  : fvi  pastorella  anch'io  In  lower  margin,  in 
shaded  script : Fidelis  Fischietti  inv.  et  deli. — Raph.  Morghen  Scul. 
Romce  Joan.  Volpato  direxit.  Brit:  Mus.,  three  impressions  ; 
one  without  the  line  of  the  artists’  names,  but  signed  in  pen  and 
ink  : Morghen  sc  ; Brera. 

Illustration  to  face  page  245.  A figure  seated  before  a tomb, 
on  the  face  of  which  she  is  carving  this  inscription,  in  large, 
shaded,  uncial  capitals  : livia  cl-  poem.  Behind  her  a 
winged  cupid ; in  the  background  some  classical  buildings.  In 
lower  margin,  in  shaded  and  engraved  script : Fidelis  Fischietti 
inv.  et  deli. — Raph.  Morghen  Scul.  Romce.  Joan.  Volpato  direxit. 
Brit:  Mus. ; Brera. 


1 51 M*  Rossini , Giovacchino.  Bertolini  sculp,  in 
marmore. 

Dimensions,  ioj  x ~i\. 

Engraved  at  Florence,  1822,  for  Bardi  & Co.  from  a marble 
bust.  The  plate  is  now  owned  by  Luigi  Bardi,  Florence. 

This  celebrated  composer,  whose  operas  and  other  compo- 
sitions are  so  well  known  to  every  one,  was  born  at  Pesaro,  1 792 » 
and  died  at  Paris,  1868. 


SAINT  JOHN  IN  THE  WILDERNESS. 


13  7 


A head,  three-quarter  face  to  the  right,  in  dry-point  on  a 
blank  background. 

Trial  proof.  The  outline  etching.  Brit:  Mus.,  two  impressions, 
do  Partly  engraved  throughout.  Brit:  Mus. 
do  Lacking  the  final  touches  only.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus. ; F.R.H. 

II.  R.  M.  faintly  traced  close  under  the  breast.  Brit:  Mus. 

III.  Close  under  lower  edge  of  the  bust,  in  delicate,  minute,  traced 
script : Emidio  Cateni  dis: — Raff e Morghen  inc:  1822.  Brit:  Mus. ; 
F.R.H. 

IV.  The  artists’  names  in  III.  erased,  and  in  their  stead,  in  traced 
script,  in  a straight  line  across  the  plate : Emidio  Cateni  dis: — 
Raff0.  Morghen  inc:  1822  In  open,  uncial  capitals  : CELEBRE 
GIOVACCHINO  ROSSINI  In  traced  script : 

Tratto  da  un  Busto  in  Marmo 
eseguito  dal  Vero presso  Alvarez  a Roma 
Firenze  presso  Luigi  Bardi  e C°. 

Brit:  Mus. 

V.  Same  as  IV.,  but  with  CELEBRE  GIOVACCHINO  ROSSINI  shaded. 
Keppel. 

VI.  Same  lettering  as  in  IV. ; but  all  the  letters  engraved  and  shaded. 
Brit:  Mus. 

VII.  The  same  lettering  as  in  preceding  ; but  with  the  addition,  in 
small,  shaded  script,  of : Borgo  degli  Albizzi  N f 460.  Grandi. 
VIII.  The  same  as  VII. ; but  IL  is  prefixed  to  CELEBRE  GIOVACCHINO 
ROSSINI,  and  these  four  words  are  decorated  with  flourishes. 
After  the  last  line  of  VII.  is  added  in  similar  letters  : se  trouve  a 
Paris  au  Musle  Europe'en,  Rue  du  Temple  N?  108  ~ Brit:  Mus. 

152.  Saint  John  crying  out  in  the  Wilderness. 

Ego  vox  clamantis,  &c.  Guido  Reni  pinx. 

Dimensions,  21$  x 1 3^. 

Engraved  at  Rome,  1786.  St.  John  the  Baptist  is  seated  on 
a rock  in  the  desert  surrounded  by  a crowd  whom  he  fervently 
addresses. 

Trial  proof.  A very  early  stage  of  the  plate,  the  outlines  pencilled 
by  the  engraver.  Brit:  Mus. 


138 


CATALOGUE  OF  PLATES . 


do  Unfinished  throughout.  Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus.;  Sotheby’s,  1864,  £13.  Rare. 

II.  In  shaded  script:  Guido  Reni  pinx t — Stephs, , Tofanelli  deli 

Raphel  Morghen  Sculp*,,  Romce.  Brit:  Mus. 

III.  The  lettering  of  the  line  of  the  artists’  names  as  in  preceding,  but, 

in  addition,  in  shaded,  uncial  capitals : EGO  VOX  CLAMANTIS  IN 
DESERTO  DIRIGITE  VIAM  DOMINI  In  small,  shaded  script  : Joan. 
Cap.  I.  ver.  23.  In  large,  shaded,  and  engraved  script : Al 
Honb[e  Welbore  Ellis  Agar  In  smaller,  shaded,  and  engraved  script : 
Joan  Volpato,  et  Raph.  Morghen  D.D.D.  Brit:  Mus. 

IV.  The  same  as  III.;  but  omitting  the  dedication  : ( Al  Honbl.e  Welbore 

Ellis  Agar),  and  also  the  names  of  Volpato  and  Morghen  ( Joan 
Volpato , et  Raph.  Morghen  D.D.D.)  ; and  with  the  addition  of  Roma, 
presso  la  Calcografia  Camerale,  in  shaded  script. 

1 53^'  Santa  Maria  Maddalena  de  Pazzi 
coil  la  Beat  a Bagnesi  in  Gloria.  Pietro 

ERMINI  del  Dimensions,  ic*  x 8. 

Engraved  at  Florence,  1804.  The  three-quarter  length  stand- 
ing figure  of  the  saint  looks  toward  the  left  upper  corner,  gazing  at 
the  apparition  of  the  Beata  Bagnesi  in  the  clouds.  The  latter  is 
kneeling,  her  hands  clasped  in  prayer.  Both  are  in  the  dress  of 
nuns.  This  plate  was  engraved  for  Santa  Maria  Maddalena  to 
commemorate  the  miracle  of  her  cure  from  a serious  illness  by  the 
personal  intervention  of  the  Beata  Bagnesi.  It  is  in  the  nature  of 
an  ex  voto.  The  head  and  drapery  of  the  foreground  figure  and 
the  head  of  the  figure  in  the  clouds  were  engraved  by  Morghen  ; 
the  rest  by  G.  Calendi. 

I.  “ Proof  before  all  letters.”  Brassey  coll.,  Maskell. 

II.  In  engraved  and  shaded  script : Giuseppe  Calendi  incise — Raffaello 
Morghen  terminb  In  larger,  shaded  script : S.  M“  Maddalena 
de'  Pazzi  per  intercession  della  B.  Maria  Bagnesi  guarisce  in 
pocchi  istanti  da  etisia  consumata,  e portatosi  al  di  Lei  sepolcro 
a ringraziare  la  sua  Benefattrice,  la  vede  in  Paradiso  in  uno  sfolgor- 
ante  Trono  di  Gloria  Brit:  Mus.;  F.R.H. 


SEASONS,  THE. 


159 


154.  Seasons , The.  The  Dance  of  the  Hours 
to  the  Tune  of  Time.  II  Ballo  delle 
Stagioni.  II  Tempo  e le  Ore.  Les  Sai- 
sons.  Les  Heures.  L Image  de  la  Vie 
Humame.  N.  Poussin  pinx. 

Dimensions,  24§  x 21. 

Engraved  at  Rome,  1789,  after  the  original  then  on  the  ceil- 
ing of  the  Rospigliosi  Palace,  Rome  ; it  now  is  in  the  possession 
of  Sir  Richard  Wallace,  and  is  included  in  the  Hertford  Gallery. 
It  was  exhibited  at  the  Bethnal  Green  Museum  in  1872  as  No.  386 
of  the  official  catalogue.  The  plate  is  now  in  the  possession  of 
Luigi  Bardi,  Florence. 

The  engraving,  perhaps  owing  to  defects  in  the  drawing  from 
which  it  was  made,  is  not  a fair  reproduction  of  the  original.  M. 
Georges  Duplessis,  the  expert  custodian  of  the  prints  in  the  Biblio- 
theque  Nationale,  Paris,  speaks  of  this  plate  and  of  that  of  the 
Repose  in  Egypt  after  the  same  painter,  in  the  following  terms  : 
“ R.  Morghen  grava  d’apres  Poussin,  deux  pieces  qui  pourraient 
compromettre  la  reputation  de  ce  maitre  si  elle  n’  etait  pas  si  juste- 
mente  et  si  solidement  etablie  : le  Repos  en  Egypte  et  le  Temps  fais- 
ant  danser  les  Saisons  sont  peut-etre  les  deux  planches  les  plus 
absolument  faibles  qu’on  ait  gravees  d’apres  Poussin.  Sous  une 
apparente  habilete  et  a travers  une  science  incontestable  de 
gravure,  le  dessin  est  tellement  neglige,  que  l’oeuvre  du  maitre  est 
totalement  defiguree.  Cette  composition,  ou  le  Temps,  assis,  joue 
de  la  lyre,  tandis  que  quatre  gracieuses  femmes,  se  tenant  par  la 
main,  dansent  au  son  de  la  musique,  perd  tout  son  charme  dans 
l’estampe  de  Morghen  ; le  graveur  a rendu  niaises  et  fades  ces 
Saisons  que  Poussin  avaient  peintes  souriantes  et  inspirees,  et  la 
gravure  elle-meme,  d’un  ton  uniformement  gris,  sans  plan  ni 
couleur,  manque  totalement  de  relief  et  de  vie.” — Hist  de  la 
Gravure  en  France,  p.  164.  Though  this  language  may  be  rather 
too  strong,  still  it  points  out  defects  which  will  be  appreciated  by 
all  who  have  seen  the  original. 

In  the  foreground  four  partially  draped  figures  are  dancing 


140 


CATALOGUE  OF  PLATES. 


back  to  back.  On  the  right  a winged  figure  of  Time  is  seated 
touching  a lyre  ; in  front  of  him  a boy  holding  in  his  right  hand  an 
hour-glass.  On  the  left  a pedestal  surmounted  by  two  heads  : one 
a female,  the  other  a male,  in  front  of  which  is  a nude  boy  seated 
on  the  ground  blowing  bubbles.  Above  in  the  clouds  Apollo 
appears  on  his  chariot  surrounded  by  nymphs.  The  background 
is  a quiet  landscape. 

Mr.  Masked  gives  an  ingenious  account  of  the  various  em- 
blematical meanings  of  the  figures  as  follows  : “ The  designation 

[The  Seasons  dancing  before  Time]  of  this  picture  does  not  appear 
to  be  particularly  appropriate.  It  is  rather  an  allegory  of  human 
life,  in  which  Poussin  has  depicted  Time  playing  on  the  lyre  while 
four  women  representing  the  Seasons,  but  in  the  guise  of  the  dif- 
ferent states  of  existence,  Poverty,  Work,  Pleasure,  and  Riches, 
dance  to  his  music.  They  dance  in  a circle,  interchanging  hands 
to  mark  the  continual  change  of  human  fortunes.  The  head-dress 
of  Riches  is  adorned  with  gold  and  pearls.  Pleasure  is  crowned 
with  flowers.  Poverty  is  habited  in  rags,  and  her  head  crowned 
with  withered  leaves.  Work  has  her  shoulders  and  sinewy  arms 
uncovered.  Near  the  figure  of  Time  are  two  children,  one  of 
whom  carries  an  hour-glass  and  appears  to  count  the  moments  of 
our  existence  ; the  other  blows  soap-bubbles,  showing  thus  the 
vanity  and  nothingness  of  the  things  of  this  world.  Florent  le 
Comte  says  that  the  idea  of  this  picture  is  due  to  Pope  Clement 
IX.” 

Trial  proof.  The  upper  part  of  the  plate  only  is  lightly  inked  and 
is  cut  off  at  the  feet  of  the  foremost  dancer.  Brit: 
Mus. 

I.  “ Proof  before  all  letters.  India  paper.  The  plate  is  full  of  faults.” 
Brassey  Catal.,  Maskell. 

II.  In  small,  shaded  script : Nicolaus  Poussin  pinx * — Stephanus  Tofanelli 
delin — Raph.  Morghen  sculp \ Romae.  Grandi ; Aloys  Apell. 

III.  The  line  of  the  artists’  names  as  in  II.;  but,  in  addition,  in  large, 
traced  script : Ferdinando  III.  Austriaco — Magno  Hetruriae  Duci 
in  smaller  traced  script : Joannes  Volpato,  et  Raphael  Morghen 
D.D.D.  With  the  arms.  Brit:  Mus. ; Brera  ; F.R.H. 


STANISLAUS  AUGUSTUS  PONIATOWSKY. 


141 

IV.  Same  as  preceding,  with  the  arms ; but,  in  addition,  in  shaded, 
uncial  capitals,  before  the  dedication  ( Ferdinando , &c.)  : LUDI- 
MUR  . INTEREA  — CELERI . NOS  LUDIMUR  HORA  There  is  also 
added  in  lower  left  corner  : In  ALdibus  Rospigliosiis.  All  the 
letters  are  shaded.  Brit:  Mus.  ; Grandi. 

755.  Shepherds  and  Cattle.  Londonio  pinx. 

Dimensions,  7f  x 5f . 

Two  plates  engraved  at  Naples  before  1770,  and  the  first 
known  to  have  been  engraved  by  Raphael  Morghen,  except,  per- 
haps the  boy  kneeling  in  prayer,  No.  27. 

1.  A peasant  girl,  in  a landscape,  wrapped  in  a cloak  which 
also  covers  the  head,  except  the  face  which  is  seen  full.  She  holds 
a stick  in  her  right  hand  ; before  her  are  five  sheep,  which  she  is 
tending. 

In  heavy  script : F°.  Lon0,  inventb. — Raf°.  Morghen  Figl0.  inc. 
Brit:  Mus. 

2.  A woman  seated  on  a mound  of  earth  on  the  right,  with  a 
sleeping  child  tied  to  her  back  ; on  the  left  a stone  without  any  in- 
scription. 

In  heavy  script  : F°.  Londonio  invib. — Raf°.  Morghen  figlio  inc‘. 
Brit:  Mus. 

1 56 M*  Stanislaus  A ugustus  Poniatowsky,  Stan- 
islas II.,  King  of  Poland.  Domenico  Cardelli 

sculp,  in  marmore. 

Dimensions,  I2f  x g£. 

Engraved  at  Rome,  1786.  The  plate  was  removed  to  Poland 
as  soon  as  it  was  finished  and  impressions  are  very  rare. 

A head  and  bust  in  a niche  with  an  oval  oak-leaf  frame  sur- 
rounded by  a rectangle.  The  head  is  three-quarter  face  turned  to 
the  right.  The  shoulders  are  classically  draped. 

This  adventurer  was  born  at  Wolczyn,  in  Lithuania,  January 
17,  1732  and  died  at  St.  Petersburg,  February  12,  1798.  He  was 
eighth  of  the  ten  children  of  Stanislaus  Poniatowsky,  the  compan- 


142 


CATALOGUE  OF  PLATES. 


ion  of  Charles  XII.  of  Sweden,  and  of  the  Princess  Constanza 
Czartoryska.  He  is  said  to  have  been  christened  with  a combina- 
tion of  the  names  of  the  two  rival  kings  of  Poland,  under  both  of 
whom  his  father  had  served,  viz.,  Stanislas  Leszeyinsky  and  Au- 
gustus XII.  He  managed  to  gain  the  favor  of  Catharine,  wife  of 
the  Czar  Peter  III.  of  Russia,  and,  in  1764,  was,  through  her, 
crowned  King  of  Poland.  When,  in  1792,  she  declared  war  on 
Poland  Stanislas  Augustus  surrendered  at  once  and  the  patriot 
Kosciusko  was  proclaimed  dictator.  Stanislas  was  forced  to  ab- 
dicate his  title  in  1792,  but  he  lived  on  at  St.  Petersburg,  disgraced 
and  despised  till  his  death  in  1798.  At  the  time  this  plate  was 
engraved  he  was  a conspicuous  figure  in  the  history  of  his  time. 

In  the  margin  under  the  rectangle  in  small,  shaded  script : 
Domu.s  Cardelli  Marmore  Sculpsit  Roma  — - 1/86  Raph:  Morghen 
Sculpsit  Roma  Joan  Volpato  dir exit  In  large,  shaded,  uncial 

capitals:  Stanislavs  Avg.  Polonias  Rex  Brit:  Mus. ; F.R.H. ; 
both  in  red  ink,  i.  e.,  bistre. 

1 57 M'  Shot  Maria  dell ’ Incarnazione . T.  Mat- 

teini  delin. 

Dimensions,  I5§  x iof. 

Engraved  at  Rome,  1791.  This  and  Nos.  158  and  159  were 
removed  to  France  by  the  Abbe  de  Chatenoy  as  soon  as  they 
were  finished.  A Carmelite  nun  ascending  amongst  clouds  with 
upturned  face  and  extended  arms  is  conducted  by  a winged,  draped 
figure  of  an  angel.  The  angel  gently  supports  the  nun’s  left  hand, 
while  with  his  left  he  points  towards  the  effulgence  above  on  the 
right.  A winged  cherub  supports  the  nun’s  knees,  while  from 
above  five  winged  cherubs’  heads  look  down  on  the  group.  This 
nun  was  the  founder  of  the  Carmes  Dechaussees.  Born  1 565,  she 
died  at  Pontoise,  April  18,  1622  ; and  was  beatified,  1791. 

In  small,  shaded  script : Teodorus  Matteini  inv , et  delin. — Raph. 
Morghen  sculp — In  large,  shaded  script : Carolo  IV.  Magno — 

Hispaniarum  Regi  Catholico  In  smaller,  shaded  script : Hanc 
effigiem  Maria  ab  Incarnatione—fundatricis  Carmelitarum  Ex- 
calceatarum  in  Galiis  are  incisam  ad  honor  em  A liar  van — a Pio 


SUOR  MARIA  DELL  INCA  RNA  ZIONE. 


143 


VI.  Pont.  Max.  nunc  primum  Evectce  Dionisius  Nicolaus  Imbert 
de  Chatenoy — Sacerdos,  et  Abbas  Commendatarius  Monasterii 
SS’nf  Trinitatis  de  Fonte  S.  Patricii  in — Hibernia  ejudern  causes 
apud  S.  Sedem  Orator  in  perenne  ossequii  argumentum.  D.O.D. 
Romce  MDCCXCI  With  the  arms.  Brit:  Mus.  ; Brera,  on  India 
and  plain  ; F.R.H. 

1 58 M*  The  Same.  Ditto  delin. 

Dimensions,  x 4J. 

Engraved  at  Rome  in  1791,  the  same  year  as  the  preceding, 
No.  757,  and  also  No.  159. 

Two-thirds  figure  of  a Carmelite  nun,  standing,  gazing  with 
upturned  face  toward  the  effulgence  which  streams  from  the  upper 
right  corner.  In  her  right  hand  she  holds  a cross,  the  foot  of  which 
a winged  cherub  grasps  with  both  hands  and  kisses.  Her  left 
hand,  raised  towards  her  face,  is  open. 

I.  Before  all  letters.  With  the  arms.  Brit:  Mus.  ; printed  in  bistre, 
perhaps  unique. 

II.  In  shaded  and  engraved  script : B*?  Soror  Maria  ab  Incarnatione — 
Carmelitarum  Ex  calc  eat  arum  in  Gallia  Fundatrix,  obiit  Pontiserae 

die  XVIII  Aprilis  An  • MDCXXII.  copia  miraculorum  in  vita, — 

et  post  mortem  illustris,  ~ Ejus  Corpus  in  Ecclesia  sui — Mon- 
asterii Pontisarensis,  requiescit  in  loculo  marmoreo,  quern  Maria 
Medicea  Galliarum  Regina  . ei  parandum  curavit  anno  vero 
MDCCXCI.  Pius  VI  Pontifex  Max.  Beatorum  albo  adscripsit. 
In  smaller,  shaded  script : Teod.  Matteini  inv.  et  delin. — Raph. 

Morghen  sculp.  With  the  arms.  Brit:  Mus.  ; Brera,  two  impres- 
sions ; F.R.H. 

1 59^'  The  Same. 

Dimensions,  5f  x 3|. 

Engraved  at  Rome  in  the  same  year  and  under  the  same 
circumstances  as  the  Nos.  757  and  158. 

Two-thirds  length  portrait  of  a Carmelite  nun,  turned  slightly 
to  the  left,  her  arms  folded  on  her  breast.  In  her  right  hand  is  the 


144 


CATALOGUE  OF  PLATES. 


enblem  of  the  Sacred  Heart  ; above  this  a ribbon  on  which  is,  in 
small,  print  characters  : Hie  Ignis — Hie  Lignis  vivat  From 
a triangle  in  the  upper  left  corner  rays  of  light  stream  onto  the 
face  and  bust.  Around  the  triangle  : Spes  Files  Charitas 
At  the  upper  margin,  in  shaded  script  : Trop  est  Avare  a qui  Dieu 
ne  suffit  At  lower  right  margin  : Grave  par  Raph.  Morghen  Be- 
low is  a coat-of-arms  surrounded  by  a band  on  which  is  a motto. 
The  title  of  the  plate,  in  small  script,  is  : Vrai  portrait  de  la — 
Bienheureuse  Sr.  Marie  de  l' Incarnation — Religieuse  Carmelite 
dechaussee  nee  a Paris — le  premier  Fevrier  1565  morte  a 
Pontoise  le  18  Avril  1618.  Beatifie  le  5.  Juin  1791.  par  nostre 
S*.  Pere  le  Pape  Pie  VI 

I.  As  described.  Brit:  Mus. ; Brera. 

II.  The  same  ; but,  in  addition,  the  following  address  : A Paris  chez 
Pasquier  Rue  S{  Jacque  Pinakotheka,  Munich. 

160 M*  Tasso , Torquato.  Pietro  Ermini  dis. 

Dimensions,  17^  x i2f. 

The  larger  plate.  Engraved  at  Florence,  1807,  for  La  Geru- 
salemme  Liberata , della  tipografia  della  Societa  Letteraria,  Boldoni, 
Pisa,  1807  ; 2 vols.  fol.  This  edition,  though  limited  to  25o  copies 
and  sumptuously  printed,  has  fallen  to  a low  price,  and,  in  fact,  is 
now  prized  only  for  this  portrait  by  Morghen,  which  is  a companion 
to  those  of  Boccaccio,  Ariosto,  Dante,  and  Petrarca. 

Half-length  nearly  full  face  turned  slightly  and  looking  to  the 
left  ; wearing  a full  beard  and  crowned  with  a laurel  wreath.  In 
the  right  hand  a closed  book.  The  mantle  trimmed  with  fur. 

Torquato  Tasso  was  born  at  Sorrento,  March  11,  1544,  and 
died  at  Rome,  April  25,  1 595.  His  name  is  famous  as  one  of  the 
great  Italian  poets,  and  is  most  popularly  known  by  his  epic  : 
“ Gerusalemme  Liberata.”  His  life  was  passed  between  the  adula- 
tion of  a gallant  court  and  the  misery  of  neglect.  The  rapid 
succession  of  success  and  failure  wellnigh,  if  not  quite,  cost  him 
his  reason  at  one  period.  His  character  is  skilfully  depicted  by 
Victor  Cherbuliez  in  the  latter’s  Le  Prince  Vitale.  See  also 
Tiraboschi,  Storia  della  letteratura  Italiana. 


TASSO,  TORQUATO. 


H5 


Trial  proof. 


do 


do 

do 


The  outline  etching  with  the  background,  the  laurel 
leaves,  and  the  fur  on  the  coat  somewhat  worked 
with  the  graver.  Brit:  Mus.,  two  impressions,  alike  ; 
Brer  a. 

The  background,  hair,  wreath,  and  beard  finished. 
The  face,  neck,  book,  fur,  and  left  breast  partly 
engraved,  but  unfinished.  Brit:  Mus. 

With  a little  more  work  on  the  book  and  on  the  fur  on 
the  right  shoulder.  Brera. 

Lacking  the  pointing  only  on  the  face,  hand,  and  right 
sleeve.  Brit:  Mus.  ; F.R.H. 


I.  Before  all  letters.  Brit:  Mus. 

II.  In  shaded  script:  Pietro  Er mini  disegno  — Raffaello  Morghen  incise 
Brit:  Mus. ; Grandi ; F.R.H.  In  the  Poggiali  Catalogue  it  is 
stated  that  there  were  three  impressions  of  this  state  printed  on 
vellum. 

III.  The  line  of  the  artists’  names  as  in  II. ; and,  in  addition,  in  the 

centre  of  lower  margin,  in  shaded  script : Luigi  Bardi  impresse 
Brera,  on  India. 

IV.  Same  as  III. ; but,  in  addition,  in  open,  uncial  capitals:  TORQUATO 

TASSO  Brit:  Mus. 

V.  With  all  the  lettering  of  IV.,  but  all  shaded.  Brit:  Mus.,  also  a 
counterproof  with  the  margin  cut  away  just  under  the  artists’ 
names;  Brera,  a counterproof  rather  faintly  inked. 


1 61 % The  Same. 

Dimensions,  8f  x 5|. 

The  smaller  plate.  Engraved  at  Florence,  1818,  for  the 
edition  of  the  Gerusalemme  Liberata , published  by  Molini,  Flor- 
ence, 1818,  2 vols.  8vo.  A profile  to  the  left,  head  and  bust,  in 
dry-point,  in  an  oval  without  any  rectangle. 

The  plate  is  now  owned  by  Luigi  Bardi,  Florence. 

I.  Before  all  letters.  Brit:  Mus. 

II.  In  small,  traced  script:  Raph.  Morghen  sculp { Brit:  Mus.,  two  im- 
pressions. 

III.  The  engraver’s  name,  as  in  II.,  but  in  shaded  letters.  F.R.H.,  two 
impressions. 


146  CATALOGUE  OF  PLATES. 

IV.  Same  as  III  ; but,  in  addition,  in  large,  shaded,  and  flourished 
Gothic  characters  : TORQUATO  Tasso.  Brit:  Mus. ; F.R.H. 

162.  Theology.  Raff.  Sanzio  pinx. 

Dimensions,  16J  x I4f. 

Engraved  at  Rome,  1781,  after  the  fresco  on  the  ceiling  of 
the  Camera  della  Segnatura,  in  the  Stanze  of  the  Vatican  over  the 
lunette  containing  the  “ Dispute  on  the  Holy  Sacrament.”  This  is 
a companion  to  the  other  emblematical  figures — Justice,  Philoso- 
phy, and  Poetry.  The  Poetry  and  Theology  were  engraved  to 
order  for  Giovanni  Volpato,  who  “ was  so  excessively  pleased  by 
the  progress  of  his  pupil,  and  still  more  by  his  admirable  moral 
character,  that  he  gave  him  his  daughter  Domenica  in  marriage. 
The  ceremony  was  celebrated  during  the  carnival  of  this  year  ” 
The  plate  is  now  in  the  possession  of  the  Calcografia  Cam- 
erale,  Rome. 

A draped  female  figure  seated  on  clouds,  holding  a book  on 
her  knee  with  her  left  hand,  points  with  the  right  downwards.  She 
is  crowned  with  flowers.  On  each  side  a cupid  holds  a tablet ; on 
that  on  the  left  is  divinar  rer,  on  the  right  not  itia.  A 
circle  in  a shaded  rectangle. 

Trial  proof.  An  outline  etching  is  mentioned  in  the  Poggiali  Catal. 
as  unique. 

do  Nearly,  but  not  entirely  finished.  The  margins  un- 

cleaned. Brit:  Mus. 

I.  Before  all  letters. 

II.  In  shaded  and  engraved  script:  Raph.  Sanctius  Pinxit. — Bernardinus 
Nocchi  del. — Raph.  Morghen  Sculp.  Joh.  Volpato  direxit  Brit: 
Mus.;  Brera. 

III.  The  line  of  the  artists’  names  as  in  II.;  but,  in  addition,  in  shaded 

script : et  Vendit  Romce  In  large,  shaded,  uncial  capitals : 
THEOLOGIA  In  shaded  script : Picta  in  fornice  imminet  tabulae 
( vulgo ) la  disputa  del  Smo.  Sacramento.  Brit:  Mus.;  Brera; 
F.R.H. 

IV.  The  Calcografia  Camerale  impressions,  et  Vendit  Romce  is  erased, 

and  at  the  bottom  is  added,  in  small,  shaded  script:  Roma,  presso 
la  Calcografia  Camerale. 


THESEUS  SEATED  ON  MINOTAUR. 


147 


163.  The  Same.  Ditto  pinx. 

Dimensions,  6f  x 4^. 

A small  and  poorly  engraved  plate,  which  is  probably 
spurious. 

Traced  in  faint  script  : Raffaello  d'  Urbino  dip: — Morghen 
inc:  In  open,  uncial  capitals  : theologia  In  script  again : 

Veritatem  meditabitur guttur  meum  ; Et  Labia  mea  detestabuntur 

impium.  Prov:  VIII.  7.  Brit:  Mus. 

1 6p.  Theseus  Seated  on  the  Conquered  Mino- 
taur. Canova  sculp,  marmore. 

Dimensions,  2I-|  x 15. 

Engraved  during  an  excursion  into  the  country  round  Albano, 
in  1 787,  for  the  Count  di  Fries,  Vienna,  to  whom  the  original  be- 
longed. Count  di  Fries  transferred  the  plate  to  Artaria,  of  Mann- 
heim, whose  impressions  were  struck  off  in  Paris. 

Theseus,  holding  a club  in  his  left  hand,  is  seated  on  the 
prostrate  and  lifeless  body  of  the  Minotaur,  looking  down  at  his 
head. 

I.  Before  all  letters.  All  the  impressions  of  this  state  seen  by  the  au- 
thor have  been  false  proofs — i.  e.,  with  the  inscription  covered  in 
the  printing.  F.R.H.  ; Grandi. 

II.  In  shaded  script  : Bonav.  Salesa  delin. — Raphael  Morghen  sculp. 
With  the  arms.  Brera. 

III.  The  impressions  printed  at  Rome.  The  line  of  the  artists’  names 
as  in  II. ; but,  in  addition,  in  shaded,  uncial  capitals  : SIC  DOMITO 
SEE  VUM  PROSTRAVIT  COP  ORE  THESEUS— NEQVICQUAM  VANIS 
fACTANTEM  CORNUA  VENTIS  In  shaded  script : Opera  in 
scultura — di  marmo  bianco  del  Sigr.  Antonio  Canova  apartene7ite 

— al  Sigr.  Conte  Giuseppe  de  Fries  in  Vienna  With  the  arms. 
These  are  easily  distinguished  from  the  impressions  of  IV.  by 
the  superior  softness  of  the  wire-marked  paper  which  was  used. 
This  paper  is  not  as  white  as  that  subsequently  used,  and  is  water- 
marked with  the  name  of  “ P.  Miliani  di  Fabriani  ” in  letters  nearly 
an  inch  and  a half  high.  Brit:  Mus.;  Brera;  F.R.H. 


148  CATALOGUE  OF  PLATES. 

IV.  The  same  lettering  as  in  the  preceding,  but  distinguishable  by  the 
dimmer  lines  of  the  engraving  and  by  the  more  modern  paper. 
Passim. 

165.  Ticket  of  Invitation  to  Visit  the  Studio 
of  Raphael's  Father , Filippo  Morghen. 

In  an  ornamented  rectangle  is  the  following  inscription  : 
Philip  Morghen,  graveur  du  roi  dans  V Herculanum  vous prie  d'un 
coup  d' ceil  sur  son  cabinet  des  vues  d'  antiquites.  II  loge  a Ste  Lucie 
a cote  [sic]  de  la  Parcfe  dans  le  palais  Ciarletto  au  pr  Etage  oil 
Mr?  les  acheteurs  verront  son  trasparent  [sic]  du  Vesuve.  Maskell. 

How  much  of  this  plate — if  any — was  engraved  by  Raphael  is 
unknown.  If  he  did  it,  it  must  have  been  when  he  was  very 
young. 

166.  Todi,  View  of  the  City  of. 

Engraved  at  Rome,  1788,  as  a visiting  card.  A small  vignette 
in  a rectangular  frame,  showing  a bird’s-eye  view  of  a walled 
town.  At  right  upper  corner  outside  the  walls  is  a small  group 
of  houses  ; at  left  upper  corner,  also  outside  the  walls,  a church, 
to  the  right  of  the  dome  of  which  is  engraved  in  print  capitals  : 
todi  A blank  rock  is  in  the  middle  foreground.  At  lower  right 
corner,  in  shaded,  script : Raph.  Morghen  scul.  Brera,  on  the 
foreground  rock  is  written  with  pen  and  ink  : Giovanni  Laurenti 
This  is  the  only  impression  the  author  has  ever  found. 

i6y.  Transfiguration  on  Mount  Thabor,  The . 

Raff.  Sanzio  pinx.  Antonio  dell’  Era  del. 

Dimensions,  32  x 214. 

Begun  at  Florence,  1796,  after  a drawing  by  Antonio  dell’ 
Era,  from  the  original  formerly  in  the  Church  of  San  Pietro  in 
Montorio,  now  in  the  Vatican.  After  Morghen  had  been  at  work 
at  this  plate  for  about  a year,  he  made  a journey  to  Rome,  and,  in 
examining  the  original,  had,  as  Palmerini  says,  “ the  strength  of 
character  and  generosity  ” to  abandon  this  plate  in  its  incompleted 


TRANSFIG  UR  A TION  ON  MOUNT  THABOR. 


149 


state,  and  to  begin  the  engraving  again  on  a new  plate,  after  a 
drawing  by  Stefano  Tofanelli,  the  dell’  Era  drawing  being  so  poor 
that  Morghen  decided  it  formed  no  true  transcript  of  the  picture. 
It  is  said  that  some  two  hundred  impressions  were  taken  of  the 
plate  in  the  state  it  was  in  when  Raphael  Morghen  abandoned  it. 
This  is  doubtful,  trial  proofs  in  this  state  being  rare.  It  is  also 
said — Tricozzi,  supplement  to  Dizionario  degli  Artisti — that  when 
the  plate  was  finished  it  was  sent  by  Antonio  Morghen  to  Arta- 
ria  in  Mannheim,  and  there  printed  as  Raphael’s  work.  The  fact 
undoubtedly  is, — as  Ferrario  states, — that  Raphael  added  the  fin- 
ishing touches  to  Antonio’s  plate,  i.  e.,  a considerable  amount  of 
lining  in  the  various  figures,  especially  that  of  Christ,  to  bring  the 
entire  plate  into  harmony. 

It  is  certain  that  this  discarded  plate  is  even  superior,  in  some 
respects,  to  the  other,  especially  in  the  upper  portion,  which  is 
treated  with  more  delicacy  and  judgment.  The  engraving  of  the 
draperies  are  acknowledged,  too,  to  be  stronger  and  more  effective, 
as  compared  with  those  in  the  plate  as  engraved  after  Tofanelli’s 
drawing.  The  drawing  and  execution  of  the  heads  in  the  group 
of  figures  below,  in  the  latter,  however,  are  vastly  better,  and  the 
effect  of  the  whole  plate  is  more  effective. 

The  picture  is  too  well  known  to  require  any  description  here. 
It  was  Raphael’s  last  work,  and — with  the  exception,  perhaps,  of 
the  Madonna  di  San  Sisto,  now  at  Dresden, — his  greatest.  It  was 
exhibited  over  his  bier  as  he  lay  in  state  after  his  death,  and  is  well 
known  to  every  one  who  travels  to  Rome  to-day.  See  Mr.  Jame- 
son : Hist,  of  Our  Lord,  Lond.,  1864,  I.,  340  ; Passavant,  II.,  244  ; 
Vasari,  etc.,  etc.  “ Come  ultima  cosa  che  far  avesse,  non  tocco  piu 
pennello,  sopra  giungendogli  la  morte.”  Vasari. 

The  picture  was  carried  to  Paris  by  Napoleon,  but  returned 
after  his  downfall  in  18 1 5. 

Trial  proof.  The  figure  of  Christ  in  outline  only  ; the  figures  in  the 
group  below  entirely  unfinished  and  many  blanks 
throughout.  Brit:  Mus. 

do  Same  as  preceding,  but  with  the  figures  in  the  right- 

hand  group  below  nearly  finished.  St.  Andrew,  the 
foreground  and  the  background  landscape  nearly 


150 


CATALOGUE  OF  PLATES. 


finished  ; the  figure  of  Christ,  and  the  sky  around 
him,  still  in  outline  only.  Brit:  Mus.  ; Brera ; 
F.R.H.  ; Grandi,  with  the  following  inscription,  in 
pen  and  ink,  in  the  margin  below  : Raphael  Sanclius 
pinx  : Romae — Raff  ad  Morghen  sculpsit  Florentice 
In  much  larger  letters,  but  still  in  pen  and  ink  : 
Al  Cittadino  Andrea  Coddebo 
This  is  the  state  the  plate  had  reached  when  Raphael 
Morghen  deserted  it  for  the  second  plate,  after  Tofa- 
nelli’s  drawing. 

do  A portion  of  the  plate  ; the  figure  of  St.  Andrew 

lacking  the  finishing  touches  only.  Brit:  Mus. 
do  The  same  as  the  preceding,  with  St.  Andrew  finished. 

Brit:  Mus. 

I.  Before  all  letters.  Brit:  Mus. ; F.R.H. , signed  in  pencil  in  lower 
right  corner  of  margin  : Raph.  et  Ant.  Morghen  sc. 

II.  In  large,  shaded  and  engraved  script : Raphael  Sanctius  pinx. — 
Raphael  et  Antonins  Morghen  sculps:  Brit:  Mus. 

III.  With  the  line  of  the  artists’  names  as  in  II. ; but,  in  addition,  in 

shaded,  uncial  capitals  : ET  TRANSFIGURATUS  EST  ANTE  EOS 
ET  RESPLENDUIT  FACIES  EIUS—SICUT  SOL:  VESTIMENTA 

A UTEM  EIUS  FACTA  SUNT  ALBA  SLCUT  NIX.  In  large,  shaded 
script : Mauritio  Corniti  Fries — Dominicus  Artaria  In  smaller 
script:  Mannhemii  apud  Dominicus  Artaria.  With  the  arms. 
Keppel.  There  are  said  to  be  two  hundred  impressions  of  this 
state. 

IV.  The  same  as  preceding;  but,  in  addition,  in  small,  shaded  script: 

Imprimd par  Ramboz.  Brit:  Mus. ; CRment. 

1 68.  The  Scilfie.  Stefano  Tofanelli  del. 

Dimensions,  31  x 20f. 

Begun  at  Florence,  1801  ; but  interrupted  by  illness  and  other 
work  so  that  it  was  not  finished  till  1811.  Raphael  Morghen 
having  cast  aside  the  plate  begun  by  him  from  the  drawing  by 
dell’  Era,  set  to  work  on  this  one  with  deliberation,  and  so  careful 
was  he  not  to  let  it  leave  his  hands  till  he  had  engraved  every 
part  of  it  to  the  best  of  his  ability,  that  it  sins  only  by  overwork 
and  remains  to  the  present  day — with  possibly  the  exception  of 


TRANSFIGURATION  ON  MOUNT  THABOR. 


151 


his  “ Last  Supper  ” — the  masterpiece  of  line  engraving.  This  art 
has  never  touched  a higher  point,  and  if — as  seems  most  likely — 
it  is  destined  to  fade  away  and  die,  it  can  be  truly  said  that  this  is 
the  fitting  monument  of  its  excellence.  The  drawing  made  by 
Tofanelli  was  much  better  than  delf'Era’s,  but  it  is  most  regrettable 
that  it  was  still  so  far  from  what  it  might  have  been.  Beyond  the 
faults  due  to  the  defects  of  the  drawing,  there  is  hardly  an  adverse 
criticism  to  be  made  except,  perhaps,  that  by  his  over-zeal  Morghen 
has  given  some  of  the  draperies  too  much  minute  finish,  thus  im- 
parting to  them  a silk-like  lustre. 

The  plate  is  now  in  the  possession  of  Luigi  Bardi,  Florence. 


Trial  proof. 


do 


do 


do 


do 


do 


Unfinished  throughout  and  showing  many  blanks. 
Some  of  the  shadings  on  nearly  every  figure  are 
slightly  worked  with  the  graver.  Christ  and  the 
figures  on  each  side  of  Him  are  in  outline.  Brit: 
Mus. 

The  head  of  the  figure  standing  on  the  left  and  point- 
ing toward  Christ  is  finished.  The  rest  is  left  as  in 
the  preceding.  Brit:  Mus. 

Like  the  preceding,  but  with  the  figure  of  the  Fornarina 
(the  woman  kneeling  in  the  foreground)  finished  ex- 
cept for  a blank  triangle  in  the  drapery  covering  the 
knee.  The  shading  around  her  head  and  part  of  the 
drapery  on  St.  Andrew’s  left  arm  are  also  finished. 
Christ’s  figure  lacks  only  the  final  touches.  The 
saint  on  his  left  and  the  sky  are  partially  engraved. 
The  Fornarina’s  left  hand  is  but  slightly  engraved, 
and  the  pointings  have  not  yet  been  added  to  her 
right  hand  and  arm.  Brit:  Mus.  According  to 
Nagler  there  are  three  impressions  of  this  state. 

“ With  the  figures  of  the  Saviour  and  one  of  the 
prophets  outlined  with  the  burin.  On  two  of  these 
impressions  there  is  engraved  around  Christ’s  head  : 
Hie  est  filius  mens  dilectus  Nagler  states  that  there 
are  eight  impressions  of  this  state. 

“ Twelve  other  trial  proofs  in  which,  in  addition,  the 
figure  of  the  second  Prophet  is  nearly  finished,  and 
the  engraving  is  begun  on  some  of  the  other  figures.” 
Nagler. 

Very  like  the  third  trial  proof  as  above  described. 
There  is,  however,  no  drapery  finished  on  St.  An- 


152 


CATALOGUE  OF  PLATES. 


drew.  Faintly  traced  in  script,  at  lower  left  corner  : 
R.  S.  pt.  ; in  roughly  traced  script  at  lower  right 
corner  : Raphael  Morghen  sculp,  aq.  forti.  In 
more  carefully,  but  very  faintly  etched  script,  in 
the  middle  of  the  lower  margin  : Prova  fatta  tirare 
espressamente  dall'  Autore  per  /’  Ornatiss:  Amico  Sig: 
Gaetano  Poggiali  Brera. 

do  The  figure  of  Christ,  the  saints  on  each  side  and  the 

sky  are  finished  ; also  St.  Andrew  with  the  excep- 
tion of  the  right  foot,  and  the  longest  band  hanging 
from  the  book  is  blank.  The  foot  of  the  figure  on 
St.  Andrew’s  left  is  also  blank  ; but  the  lower  half 
of  his  drapery  and  all  of  St.  Andrew’s  are  finished. 
The  four  figures  standing  behind  the  convulsed  boy 
are  finished  as  to  the  heads,  but  not  the  other  parts. 
The  foreground  is  more  shaded.  Brit:  Mus. 

Remark  proof.  “ With  the  white  book.”  The  plate  is  entirely  fin- 
ished except  the  open  page  and  the  top  of  the  leaves 
of  the  book  which  are  in  outline.  The  bands  hang- 
ing from  the  book  are  shaded.  Brit:  Mus.  Fifteen 
impressions  are  said  to  exist  of  this  state.  It  has 
fetched  the  following  prices  : Logette,  No.  105,  frcs. 
472  ; Wilcox,  1856,  No.  193,^80;  Sotheby’s,  April, 
1884,  £qo. 

The  Brit:  Mus.  has  an  impression  of  the  figure  of 
Christ  printed  alone.  Morghen  mentions  this  in 
a letter  as  having  been  struck  off  as  a present  to 
his  friend  Avizzi  Albrizzi,  and  states  that  it  is 
unique. 

In  the  Brit:  Mus.  is  also  a head  of  the  “ Fornarina  ” : 
the  outline  dotted,  the  hair  shaded  in  dry-point,  the 
back  of  the  neck  and  left  hand  shaded  in  stipple. 
No  doubt  a copy  Jay  some  other  engraver. 

I.  In  shaded  and  engraved  script:  Raph:  Sanctius  pinxit.  — Steph : 
Tofanelli  delin: — Raph:  Morghen  sculpt:  In  open,  traced,  uncial 

capitals  : ET  TRANSFIGURA  TUS  EST  ANTE  EOS. — In  smaller,  print 
characters:  Mat.  C.  XVIL.  v.  2.  In  shaded  script:  Aloysius 
Bardi  excudit — in  print  characters : Exstat  in  Lmperiali  Museo 
Parisino.  Before  the  arms  or  dedication,  and  with  Morghen’s 
stamp.  Brera;  Sotheby’s  1875,  ,£32  ioj.;  there  is  a counterproof 
of  this  state  in  the  Brit:  Mus. 

II.  In  shaded  and  engraved  script : Raph:  Sanctius  pinxit.  — Steph: 


TRIVULZIO , THE  MARSHAL . 


153 


Tofanelli  delin: — Raph:  Morghen  sculp * Florentioe  1811  In 
newly  engraved,  smaller,  open,  uncial  capitals  : TRANSFIGURATUS 
EST  ANTE  EOS.  In  small,  print  characters  : Matth.  C.  XVII.  v.  2 
A Sa  Majeste- — Napoleon  le  Grand  in  shaded  script : Emper- 

eur  des  Franqais , Roi  d' Italie, — Protecteur  de  la  Confederation  du 
Rhin  Mediateur  de  La — Confederation  Suisse  &c.  &c.  &c. 
Depose  a la  Bibliotheque  Imperiale  a Paris  le  6 Decembre  1811 
Ernprime  [sic]  par  Lojiis  Bardi  Le  tableau  existe  au  Museum 
[sic]  Imperial  [sic]  a Paris — Par  son  tres  humble  et  tre's  Obe — 
issant  serviteur  & sujet  Raphael  Morghen.  With  the  arms. 
Grandi,  at  lower  right  corner  in  pen  and  ink,  in  Morghen’s  hand : 
N°.  cinquecentoventi  — R.  Morghen 

There  were  600  impressions  of  this  state  printed,  called  “ sub- 
' scription  proofs,”  and  all  numbered  and  signed,  and  stamped  with 
both  R.  Morghen’s  and  A.  E.  Lapi’s  stamps.  On  some  impres- 
sions is:  Raphael  Morghen  sculp * instead  of  Raph:  Morghen  sculp*.. 
Brit:  Mus.,  N°  cinquantatre  R.  Morghen.  The  price  to  sub- 
scribers of  these  subscription  proofs  was  frcs.  112  ; to  non-subscrib- 
ers, frcs.  168. 

169.  Tree , The  small  trunk  of  a.  Ipse  del. 

It  is  doubtful  if  this  is  by  Raph.  Morghen. 

“ Proof  in  acqua-fortis.”  Brassey  coll.,  Maskell. 


ijo.%  Trivulzio , The  Marshal  Gian  Jacopo 


T rivulzio. 


Dimensions,  I2-|  x 8f. 


Engraved  at  Florence,  1814,  for  the  Marquis  Giovanni 
Giacomo  Trivulzio,  to  illustrate  Dell'  Istoria  intorno  alle  Militari 
imprese  e alia  Vita  di  Gian- Jacopo  Trivulzio  detto , il  Mag  no,  libri 
XV.  del  Cav.  Carlo  De'  Rosmini,  Milano,  1 8 1 5 , 2 vols.  large  4to., 
plates. 

Gian  Jacopo  de’  Trivulzi,  called  the  Great,  Marquis  of  Vige- 
vano,  and  Marshal  of  France,  was  born  at  Milan,  1448,  and  died  at 
Chatres — now  Arpajon — Dec.  5,  1 5 1 8.  At  first  a zealous  sup- 
porter of  the  Sforzas,  he  was  afterward  ungratefully  banished  by  II 


154 


CA  TALOGUE  OF  PLA  TES. 


Moro,  and  thenceforward  became  their  implacable  enemy.  He 
first  entered  the  service  of  Ferdinand  II.  of  Spain,  but  soon — and 
most  discreditably — passed  over  into  that  of  the  French  King 
Charles  VIII.  By  nature  bold  and  courageous,  he  was  of  harsh 
and  tyrannical  character,  and  managed,  by  the  largesses  he  re- 
ceived from  those  he  served  and  the  exactions  he  enforced  on 
those  who  served  him — aided  by  his  habitual  avarice — to  accumulate 
enormous  wealth.  The  following  characteristic  anecdote  is  told  of 
him  : When  asked  by  Louis  XII.  what  was  requisite  for  carrying 
on  war,  he  replied:  “Three  requisites:  first,  money;  secondly, 
money  ; thirdly  and  lastly,  money.”  He  was  twice  married,  and  his 
descendants  still  live.  Brantome  says  : “ Lorsqu’  il  voulut  mourrir, 
il  se  fit  mettre  son  epee  sur  le  lit  toute  nue  pres  de  lui,  et  tant 
qu’  il  put  il  la  tint  en  lieu  de  croix,  et  aussi  que  les  diables  la  lui 
voyant  ainsi  en  la  main  eussent  peur.” 

Nearly  full  face,  slightly  turned  to  the  left  ; the  shoulders, 
arms,  and  hands  in  heavy  armor,  wearing  a close-fitting  velvet 
cap.  In  the  right  hand  a marshal’s  baton,  the  left  resting  on  the 
hilt  of  his  sword.  In  a shaded  rectangle. 

Trial  proof.  “ Proof  in  acqua-fortis.”  Brassey  coll.,  Maskell. 

do  The  background  partly  engraved ; the  figure  still  in 

outline.  Brit:  Mus. 

do  “ Proof  finished,  except  the  face,  which  is  in  outline.” 

Brassey  coll.,  Maskell. 

do  Lacking  the  finishing  touches  only.  Brit:  Mus. 

I.  Before  all  letters,  and  before  the  inscriptions  on  the  background 
above  the  head.  F.R.H. 

II.  In  shaded  script : Raph.  Morghen  Sculp:  Brassey  coll.,  Maskell. 

III.  With  the  engraver’s  name  as  in  II.  ; but,  in  addition,  in  open,  uncial 
capitals  : 10  . I AC  . MAGNUS  . TRIWL  . MARCH  . VIGLE 
MARESCAL  FRANCIAE  IMP.  OCTIES.  With  the  inscription  on  the 
background  above  the  head  on  each  side.  Brit:  Mus. ; F.R.H. 

iyi%  T tire  hi,  Diodato  Francesco.  VmmKpinx. 

Dimensions,  Ilf  x 9^. 

Engraved  at  Florence,  1800,  for  Antonio  Ghidini.  Raphael 


TURCHI,  DIO  DA  TO  FRANCESCO. 


155 


engraved  the  head  only  ; the  rest  is  by  his  brother  Antonio.  The 
portrait  serves  as  frontispiece  to  the  edition  of  the  prelate’s  works, 
including  the  sermons  delivered  by  him  at  his  own  court,  published 
by  Mussi,  Parma,  i8o5,  4 vols.  fol. 

The  plate  is  now  owned  by  Luigi  Bardi,  Florence. 

Domenico  Carlo  Maria  Turchi — in  religion  Adeodato — was 
born  in  Parma,  1724,  and  died  1803.  He  rose  to  the  dignity  of 
Bishop  of  Parma,  from  a Capuchin  monk,  and  was  famous  for  his 
eloquence.  He  delivered  several  funeral  orations,  some  on  royal 
personages,  and  a multitude  of  sermons,  homilies,  etc.,  besides 
pastoral  letters  and  similar  compositions. 

A half-length,  seated  figure,  nearly  full  face,  turned  slightly 
to  the  right  in  a rectangle,  dressed  in  a plain  cassock,  and  wearing 
a skull-cap.  A cross  hangs  on  the  breast  suspended  by  a chain 
passing  around  the  neck. 

Trial  proof.  Partially  engraved  throughout  except  the  face,  the 
cross,  and  the  chain,  which  are  still  in  outline. 
Brera. 

do  The  face,  cross,  and  chain  still  in  outline,  but  the  rest 

of  the  work  more  advanced  than  in  the  preceding 
trial  proof.  Brera. 

do  Lacking  the  pointings  only.  Brit:  Mus.,  in  brown  ink  ; 

Brera. 

I.  Before  all  letters.  Brera,  on  India ; Brassey  coll.,  Maskell.  Rare. 

II.  In  small,  shaded  script:  Franciscus  Vieira  pinxit — Rapli:  Morghen 
Sculp  Brit:  Mus. 

III.  The  artists’  names  as  in  II. ; but,  in  addition,  in  shaded,  uncial 

capitals : 

ADEODA  TVS  TVRCHI  ORD:  CAP:  IN  P ATRIA  EPISCOPVS 
AC  RECIPE  PROLIS  FERDINAND I.  /.  HISPANIARVM  infan tis 
ET  DVCIS  P ARM  PE  PR  PE  CEP  TOR 

Brit:  Mus. ; Brera;  F.R.H. 

IV.  In  deeply  engraved  script : Franciscus  Vieira  pinxit — Raph:  Mor- 

ghen Sculp  In  large,  shaded,  uncial  capitals:  ADEODATO 
TURCHI  In  small,  print  characters:  Firenze  presso  Luigi  Bardi 
e Comp0.  Bor  go  degli  Albizzi  N°.  4.60.  Brit:  Mus. 


i56 


CATALOGUE  OF  PLATES. 


172.  Venus  coming  from  the  bath.  From  an 

antique  cameo. 

Begun  at  Florence,  1797,  but  never  finished.  Venus,  a nude 
figure,  has  just  stepped  out  of  the  bath,  and  is  drying  one  of  her 
feet.  Morghen,  impelled  by  morbid  scruples  of  modesty,  destroyed 
the  plate  and  all  the  impressions  but  one,  which  Palmerini  pre- 
served and  subsequently  presented  to  Artaria,  of  Mannheim.  The 
same  modesty  led  Morghen  also  to  destroy — according  to  Palmer- 
ini— all  the  impressions  he  could  obtain  of  Angelica  e Medoro, 
No.  11,  which  see. 

An  impression  occurred  at  the  Chandos  sale  in  1834,  and  was 
purchased  by  a Mr.  Tiffin  for  £1  5s.  This  may  have  been  Pal- 
merini’s.  Artaria  has  been  dead  some  years,  and  his  business  is 
not  continued.  A diligent  search  has  failed  to  discover  any 
further  traces  of  an  impression. 

173.  Views  near  Naples , Seven. 

Dimensions,  various. 

1.  I.  Vedute  interiore  del  Truglio,  o siano  bagni  Antichi , 
presso  al  Tempio  di  Venere  Genitrice  a Baia , in  heavy,  shaded 
script.  Brit:  Mus. 

Dimensions,  15^  x ix. 

II.  The  same  ; but,  in  addition,  in  shaded  script,  at  lower  left 
corner  : Raffaello  Morghen  dis.  e inc  in  upper  right  corner 
18.  Brit:  Mus. ; F.R.H. 

2.  At  upper  right  corner  : 2.  In  shaded  script  : Veduta 

di  parte  delle  lave  di  bitume  che  nelle  eruzioni  vomitate  dal  Vesuvio 
coprirono  V antichissima  Citta  di  Ercolano ; prima  della  nostra  Era 
posta  al  di  sotto  di  questi  luoghi , tra  il  presente  Portici,  e la 

Torre  del  Greco.  Legasi  la  Topografia  di  Napoli  del  Caval.  Car- 
letti  pref.  1.  Monte  Vesuvio  nel  primo  seccolo  di  nostra  Era  della 
violenza  de  fuochi  sottoranei  bipartito.  2.  Antica  parte  emiciclica , 
oggi  nominata  Montagna  di  somma.  J.  Vesuvio  nel  presente  stato 
reso  aspro,  erto  e rotondeggiante  dalle  lave  bituminose  errutate  e 
discorse  le  une  sopra  delle  altre  4.  Portici  attorno  di  cui  fu 


VIEW  OF  THE  GROTTA  DEL  CANE. 


157 


la  villa  de  Pontii.  5.  Villa  Reg.  Borbonia ; qui  principana  Er- 
colano.  6.  Lava  bituminosa,  che  colle  altre  nel  primo  seccolo  a 
tempi  di  Tito  Imperadore  coprirono  e distrussero  il  sito  e la  Citta 
di  Ercolano.  7.  Altra  lava  bituminosa  errittata  ne  tempi 
appresso  sulle  antichissime ; che  vi  oggi  da  nostro  Monarca  si  fa 
tagliare,  per  avvaleresene  alle  fondazione,  e rippari  di  scogliere  nelle 
fabriche  esposte  a flutti  del  nostro  mare.  At  lower  right  corner  : 
R.  Morghen  del.  et  int.  Brit:  Mus.  ; Brera. 

Dimensions,  2of  x I2f. 

3.  In  heavy  italics  : A S.  E.  il  Sigr.  Principe  Ghighi  Mares- 
callo  di  S.  Chiesa  e Principe  del  S.  Romano  Inperio  di  Farnese. 
Veduta  del  Tempio  Esastilo  Ipetro  Dalla  Parte  di  Ponente,,  seguiato 
nella  Prospettiva  Generale,  Letter  a F.  Morghen  fig0,  dis.  e inc.  1776. 
Brit:  Mus.,  signed  in  pencil  : Raphael  Morghen  Sculp. 
Morghen  fig°.  dis.  e inc.  1776. 

Dimensions,  15  \ xn. 

4.  In  lower  right  corner  : Appo  F.  Morghen  Veduta  da 
Mezzogiorno  del  Tempio  Esastilo  Lpetro , e del  Ginnasio  Pestano. 
Segnato  nella  veduta  generale  lettera  g.  Brit:  Mus. 

Dimensions,  15J  x 11. 

5.  Ant.  Jolli  dis. — Appo.  Filip.  Morghen.  Veduta  del 

Tempio  Esastilo  Perittero  dalla  Parte  di  Ponente.  Segnato  nella 
veduta  generale.  lettera  d.  Brit:  Mus. 

6.  Antonio  folli  dis. — Appo  Filippo.  Morgh.  Altra  Veduta 
Interiore  del  Tempio  Esastilo  Ipetro  dalla  parte  di  ponente.  Brit: 
Mus. 

7.  View  of  the  Bridge  of  Caligula.  Without  any  artists’ 
names  ; but  Palmerini  states  that  he  was  assured  by  Morghen 
himself  that  this  was  his  engraving.  Brit:  Mus.  ; Brassey  coll. 

Dimensions,  15  x n^-. 

I 74. . View  of  the  Grotta  del  Cane. 

Dimensions,  10  x 5^. 

In  heavy  italics  : Raf.  Morghen  Fece  i.  Grotta  del  Cane 


158 


CATALOGUE  OF  PLATES . 


2.  Lago  d'agniano  j Camaldoli  At  upper  right  corner  of 
the  plate  is  : 14.  Brera. 

This  is  near  the  former  Lake  d’Agnano,  near  Naples. 

A companion  to  this,  The  School  of  Virgil,  has  no  claims  to 
be  considered  Raphael  Morghen’s. 


775.  Views  of  the  City  of  Padua,  Eleven. 


Engraved  at  Rome,  circa  1782.  The  views  are  all  in  the 
engraved  frame  surrounding  the  map  of  the  City  of  Padua. 

1.  View  of  the  Prato  della  Valle. 

2.  The  University, 
j.  The  Observatory. 

4.  Piazza  della  Signoria. 

5.  Piazza  dell’  Erbe. 

6.  View  of  the  new  Monte  de  Pieta 

7.  View  of  the  old  Monte  de  Pieta. 

8.  Gate  of  Venice,  called  del  Portello. 
p.  The  Savanarola  Gate. 

10.  The  Loggia  and  Rotonda  of  Justinian  al  Santo.  The  ar- 
chitecture of  the  Falconetto. 

11.  The  Church  of  San  Antonio. 

All  the  above  are  in  the  Brit:  Mus.,  printed  with  the  map  and 
frame,  and  separately  ; F.R.H.,  printed  separately. 


Engraved  at  Rome,  1783,  and  published  there,  1784.  All, 
except  the  eighth,  have  engraved  underneath  : Du  Cros  pin. 

1.  Le  Lac  d' Alb ano. 

2.  La  Cascatelle  de  Tyvoly. 

j.  Vue  de  la  Valee  de  la  Riche. 


Dimensions,  of  the  plan  and  frame,  6 ft.  in.  x 5 ft.  8J  ; of  the  plan  alone,  5 ft.  2\  x 4 ft.  8^ 


/ 7 6.  Views  in  outline , intended  for  coloring, 


Dimensions,  circa  17  x 12^. 


VINCI ; LEONARDO  DA. 


1S9 


4.  La  Grotte  de  Neptune  a Tyvoly. 

5.  La  Grotte  de  Palazzuolo  sur  le  Lac  d' Albano. 

6.  Le  Tombeau  des  Horaces  et  des  Curias  a Albano. 

7.  Les  Marais  Pontins. 

8.  La  Cascade  de  Terny  (engraved  by  Volpato). 
All  these  are  in  the  Brit:  Mus.  and  in  the  Brera. 


1 77-  Vincentini , Visiting  card  for  the  Mar- 
quis. 

Dimensions,  3^  x 2f. 

Engraved  at  Rome,  1788. 

A vignette.  In  the  centre  a rectangular  plain  monument,  to 
the  left  of  which  stands  the  draped  and  helmeted  figure  of  Minerva, 
holding  in  her  right  hand  a spear,  and  resting  her  left  on  the 
monument.  In  front,  on  the  right,  a recumbent  river-god  seen 
from  behind.  In  the  background  on  the  right  the  Falls  of  Terny. 

On  the  face  of  the  monument  in  uncial  capitals  : il  marchese 
vincentini  Raph.  Morghen  scid.  F.R.H.,  with  Mor- 
ghen’s  stamp. 

i 78 % Vinci , Leonardo  da.  Ipse  pinx. 

Dimensions,  12  x 8f. 

Begun  at  Florence,  1803,  and  finished  there  in  January,  1817, 
after  the  original  in  the  Painters’  Portrait  Gallery,  in  the  Uffizi 
Palace,  Florence. 

The  plate  is  now  in  the  possession  of  Fuigi  Bardi,  Florence. 
It  has  been  skilfully  copied  by  Morghen’s  pupil,  Niccola  Guidetti. 

Feonardo,  the  natural  son  of  Pietro  da  Vinci,  was  born  at 
the  Castle  of  Vinci,  near  Florence,  in  1452,  and  died  at  the  Castle 
of  Clou,  near  Amboise,  France,  May  2,  1519.  He  became  famous 
as  painter,  sculptor,  and  architect.  His  masterpiece,  The  Last 
Supper,  is  the  original  of  Morghen’s  masterpiece  of  engraving. 
The  scattered  studies  for  this  painting  alone  now  survive  to  teach 
us  its  pristine  glory.  Leonardo  has  also  left  several  valuable 


i6o 


CATALOGUE  OF  PLATES. 


treatises  on  drawing  and  scientific  subjects,  some  of  which  are  still 
unpublished. 

A head  and  shoulders  in  a shaded  rectangle.  The  head  is 
three-quarters  turned  to  the  right,  wearing  a loose  cap,  from  which 
the  gray  hair  falls  on  the  shoulders.  A long,  full,  white  beard 
flows  down  on  the  breast.  He  wears  a loose  mantle  trimmed  with 
fur. 

Trial  proof.  The  head,  cap,  beard,  and  the  fur  on  the  right  shoulder 
in  outline  only.  The  rest  partly  engraved.  Brit: 
Mus.,  three  impressions,  one  cut  down  ; Brera. 
do  More  advanced  in  those  parts  partly  engraved  in  the 
preceding  trial  proof.  Brit:  Mus. 
do  “ The  head  and  beard  in  outline  ; the  greater  part  of 

the  dress  finished.”  Brassey  coll.,  Masked, 
do  Still  further  advanced  in  those  parts  mentioned  above 

as  partly  engraved.  The  cap  is  almost  finished  and 
the  right  eyeball  has  a few  marks  of  the  graver, 
do  The  left  side  of  the  beard  and  the  fur  on  the  right 

shoulder  still  in  outline  only.  The  rest  finished  ex- 
cept for  some  final  touches.  Brit:  Mus.,  two  im- 
pressions, one  showing  pencillings  by  the  engraver. 

I.  Before  all  letters.  Brit:  Mus.  ; F.R.H. 

II.  In  shaded  script  : Leonardus  Vincius  se  ipsum  pinxit — Raphael  Mor- 
ghen  sculpsit Flor.  Brit:  Mus. 

III.  The  artists’  names  as  in  II. ; but,  in  addition,  in  open,  uncial  capi- 

tals : LEONARDO  DA  VINCI  Below,  in  delicately  traced  italics : 
/’ Originale  esiste  nella  Real  Galleria  di  Firenze.  Brit:  Mus. 

IV.  Same  as  the  preceding ; but  with  LEONARDO  DA  VINCI  in  shaded, 

uncial  capitals. 

V.  “ Print  after  letters,  with  address  of  Bardi.”  Brassey  coll.,  Maskell. 

I jgM'  Volftato,  Giovanni.  Angelica  Kauffman 
pinx. 

Dimensions,  9^  x 7f. 

Engraved  at  Florence,  1800,  in  Volpato’s  sixty-eighth  year. 
He  was  born  at  Bassano,  1 733,  and  died  at  Rome,  August  21,1 802. 
He  began  his  artistic  career  as  an  embroiderer  and  designer  on 


VOLTA , CARLO  ALLESSANDRO. 


161 


stuffs.  His  first  efforts  in  engraving  were  published  under  the  pun- 
ning name  of  Jean  Renard.  Bartolozzi  took  him  under  his  tutelage 
and  taught  him  the  mysteries  of  the  engraver’s  art.  He  soon 
showed  considerable  aptitude  for  engraving  after  Raphael  Sanzio 
and  his  school,  and  many  of  his  engravings,  especially  of  the 
lunettes  in  the  Vatican,  are  still  esteemed.  He,  however,  never 
equalled  his  pupil,  partner,  and  son-in-law,  Raphael  Morghen, 
though  several  artists  who  studied  in  his  school  evinced  marked 
proficiency.  This  portrait  was  a labor  of  love,  and  Morghen  never 
excelled  the  brilliancy  and  finish  here  shown.  Canova,  in  token  of 
friendship,  carved  his  monument  in  the  Church  of  the  Apostles, 
Rome. 

The  plate  is  now  the  property  of  Luigi  Bardi,  Florence. 

A half-length,  three-quarter  face  turned  to  the  right  in  a 
shaded  rectangle.  His  face  is  without  any  beard,  a loose  house- 
cap  on  his  head.  He  wears  a cloak  trimmed  with  fur  and  show- 
ing a lace  scarf,  the  ends  of  which  fall  on  his  breast. 

Trial  proof.  Partly  engraved  throughout,  except  the  face  and  lace 
which  are  in  outline  only.  Brit:  Mus. 
do  Partly  engraved  throughout  ; but  the  lace  still  in  out- 
line. Brit:  Mus.,  two  impressions,  one  touched  up 
with  pencil. 

I.  Before  all  letters.  Brera.  Very  rare. 

II.  Very  delicately  etched  at  lower  right  corner:  R.M.  Brit:  Mus. 

III.  In  minute,  traced  script : Ang:  Kauffman  pinx: — Steph:  Toffanelli 

delin: — Raph:  Morghen  sciilp:  In  open,  traced,  uncial  capitals  : 

JOHANNES  VULPATUS  CAELA.TOR  EXIMIUS  ANN.  LXVII  Brit: 
Mus.,  also  a counterproof ; F.R.H. 

IV.  The  same  lettering  as  the  preceding;  but  all  the  letters  engraved 

and  shaded,  Brit:  Mus.  ; Brera,  on  India. 

1 8 o 1/ olta,  Carlo  dllessandro.  Sabatelli  delin. 

Dimensions,  ii|  x gj. 

Engraved  at  Florence,  1816,  for  the  edition  of  Volta’s  works 
published  by  Guglielmo  Piatti,  under  the  direction  of  Vincenzo  An- 
tinori,  Florence,  1816,  5 vols.  8vo. 


CATALOGUE  OF  PLATES. 


162 

Head  and  bust,  three-quarter  face,  turned  to  the  left  in  a 
shaded  oval  ; no  rectangle.  Born  at  Como,  February  19,  1745,  he 
died  at  the  same  place,  March  5,  1827.  His  life  was  exclusively 
devoted  to  the  study  of  physics,  and  especially  electricity,  in  which 
he  made  many  important  discoveries,  notably  that  of  the  Voltaic 
pile.  “ Volta  avait  une  taille  elevee,  des  traits  nobles  et  reguliers 
comme  ceux  d’une  statue  antique,  un  front  large  quede  laborieuses 
meditations  avaient  profondement  silloue,  un  regard  on  se  peignai- 
ent  egalement  le  calme  de  lame  et  la  penetration  de  1’esprit. 

. . . Ses  manieres  conservaient  toujours  quelques  traces  d’habi- 
tudes  campagnardes  contractees  dans  sa  jeunesse  . . . Intelli- 

gence forte  et  rapide,  idees  grandes  et  justes,  caractere  affectueux 
et  sincere,  telles  etaient  ses  qualites  dominantes.  L’ambition,  la 
soif  de  l’or,  l’esprit  de  rivalite  ne  dicterent  aucune  de  ses  actions. 
Chez  lui  l’amour  de  l’etude,  unique  passion  qu’il  ait  eprouvee,  resta 
pur  de  toute  alliance  mondaine.” — D.  F.  Arago. 

Trial  proof.  Unfinished  throughout  ; the  coat,  background,  and  the 
hair  are  somewhat  engraved  ; the  rest  in  outline. 
Brit:  Mus. 

do  Lacking  the  pointings  and  finishing  touches  only. 

Brit:  Mus. 

I.  Before  all  letters.  F.R.H. 

II.  In  shaded  script : Sabatelli  delin:  Ermini  dis: — R.  Morghen  incise 
Keppel. 

III.  The  artists’  names  as  in  preceding ; but,  in  addition,  in  open,  uncial 

capitals  -.ALESSANDRO  VOLTA  Brit:  Mus. 

IV.  The  same  lettering  as  in  preceding  ; but  all  the  letters  shaded.  Brit: 

Mus. 

/ 8 1 M*  “ William  II.  of  Nassau!  M.  Mireveld 

pinx. 

Dimensions,  14J  x 9^. 

Engraved  at  Florence,  1782.  This  plate  was  ordered  by  the 
Grand  Prior  Antenori  after  an  original  oil  painting  in  his  possession, 
representing  some  unknown  personage,  and  as  such  it  was  en- 
graved by  Morghen.  The  plate  having  passed  into  the  hands  of 


ZUCCAGNI,  ATTILIO,  M.D.  163 

Artaria  of  Mannheim,  the  printseller,  he  added  the  purely  apochry- 
phal  title  of  Wilhelmus  II,  Princeps  Nassoviae. 

Palmerini  says,  that  from  this  plate  “ it  is  evident  that  fleshes 
can  be  reproduced  by  a broad  treatment  so  that  they  yield  a fine 
effect,  an  effort  in  which  Wille  was  not  successful  in  his  ‘ Death  of 
Marc  Anthony.’  ” In  Morghen’s  plate,  however,  the  treatment  of 
the  lace  is  the  most  dexterously  handled  and  successful  detail. 
The  only  flesh  is  the  face,  and  that  is  too  slight  an  item  of  the  por- 
trait to  challenge  a comparison  with  such  an  important  and  ambi- 
tious plate  as  that  of  the  “ Death  of  Marc  Anthony.”  The  latter 
is  a wonderful  and  intentionally  peculiar  feat  of  skill  ; and  without 
a rival  in  its  special  manner. 

There  is  a very  accurate  copy  by  Giuseppe  Calendi. 

A half-length  figure,  three-quarters  turned  to  the  right,  wear- 
ing a slashed  doublet  and  sleeves  and  a broad  lace  collar,  in  a 
shaded  rectangle.  The  face  shows  a moustache  and  imperial  ; the 
hair  is  worn  long  and  falls  on  the  shoulders. 

I.  Before  all  letters,  and  before  the  inscription  on  the  background  to 
the  left : A0.  1630  M.  Miereveld.  Brera.  Very  rare. 

II.  With  the  inscription  on  the  left  on  the  background,  and  with,  in 
engraved  and  shaded  script,  at  lower  right  corner  below  : Raph. 
Morghen  Scul*  Roma.  Brit:  Mus. ; Brera. 

III.  In  shaded  and  engraved  script:  M.  Miereveld  Pinxit — Steph.  To- 

fanelli  deli. — Raph*}  Morghen  Sen l ? Roma.  Brit:  Mus.  ; Brera  ; 
F.R.H. 

IV.  Same  as  preceding  lettering ; but,  in  addition,  below,  in  centre  of 

margin,  in  shaded  and  engraved  script : Mannhemii  apud  Domini- 
cum  Artaria  Grand i. 

V.  The  same  lettering  as  IV.  ; but,  in  addition,  in  shaded,  uncial 
capitals:  WILHELMUS  II.  PRINCEPS  NASSOVIAE.  Brit:  Mus. 

182M ♦ Zuccagni,  Attilio,  M .D.  g.  a.  Santarelli 

del 

Dimensions,  16  x n. 

Engraved  at  Florence,  1802,  as  a token  of  gratitude  to  the 
physician  who  had,  in  March  of  the  same  year,  cured  Morghen  of 


164 


CATALOGUE  OF  PLATES . 


a serious  illness.  The  plate  is  now  the  property  of  Luigi  Bardi, 
Florence. 

The  obverse  and  reverse  of  a circular  medallion,  the  two 
united  by  a band.  Around  the  inner  margin  of  the  obverse — with 
the  profile  head  to  the  right — is  engraved  in  open,  uncial  capitals  : 

ATILIO  . ZVCCAGNIO . FLOR  . PHILOS  . MEDIC  . DOCTORI . RAPHAEL 

morghen  . The  reverse  represents  the  Genius  of  Engraving  crown- 
ing Hygeia.  In  unshaded,  uncial  capitals  around  this  : ob  . vitam 

SER  VAT  AM  . M.D  CCC.  II. 

The  following  Latin  inscription,  in  shaded,  uncial  capitals,  is 
composed  by  the  Abbe  Lanzi  : 

ATILIO  . ZVCCAGNIO  . FLORENTINO 
PHILO  SOPHIAS  . ARTISQ  . MEDICAE  . CONSVLTISSIMO 
IN  . REGIO  . PHY  SICES  . MUSEO 
HORTI . BOTANICI . RERVMQ  . NATVRALIVM 
PRAEFECTO 
RAPHAEL  . MORGHEN 

SCALP  TOR  . AERE  . LINE  ANDO  . IMPRIMENDO 
APVD  . ETRVRIAE  . RE  GEM 
DE  . ARTE  . SVA  . DONVM  . DAT 
QUOD.  PROPS.  DEPOSIT  VS  . CONVALVERIT 
INGENIO  . ET  . SEDVLITATE  . El  VS 

Attilio  Zuccagni,  besides  being  an  excellent  physician,  was 
the  author  of  the  following  geographical  and  statistical  works  : 
Atlante  geographico , fisico,  e storico  della  Toscana , Firenze,  1832, 
large  folio,  with  20  plates.  Also  of  Corographia  fisica , storica , e 
statistica  dell ' Italia  e delle  suoe  isole,  con  mappe  geografiche  e topo- 
grafiche , e vedute  illustrative,  Firenze,  i845-5o,  i5  vols.  large  8vo.> 
and  3 vols.  atlas  folio. 

Trial  proof.  The  pure  outline  etching  of  the  two  medallions.  The 
inscriptions  on  the  medallions  and  below  them  are 
executed  with  pen  and  ink  as  models  for  the  en- 
graver. The  spellings  vary  in  several  instances  from 
those  finally  adopted,  and  are  as  follows  : Around 
the  head  of  the  portrait:  ATILIO.  ZUCCAGNIO  . 
FLOR  . PHILOS  . MEDIC  . DOCT  . RAPHAEL  . 
MORGHEN . The  reverse  has  the  same  inscription 
as  that  finally  engraved.  Below  the  medallions,  in 


ZUCCAGNI,  ATTILIO,  M.D. 


165 

unshaded,  uncial  capitals  : ATILIO  . ZVCCAGNIO  . 
FLORENTINO  PHILOSOPHIE  . ART/SQ.  MEDI- 
CAE  . CONS VL  TISSIMO  IN  . REGIO  . PHY- 

SICS S . MUSEO  HORTI  . BOTA  PRAEFECTO 
ATVRALIVM  PRAEFECTO  RAPHAEL  . 

MORGHEN  SCALP  TOR  . AERE  . LINE  AN  DO  . 
IMPRIMENDO  DE  . ARTE  . SUA  . DONVM  . 

DA  T.  QVOD  . PROBE  . DEPOSITVS . CONVAL- 
VERIT  INGENIO  . ET . SED  ULITA  TE  . El  VS . 
Brera. 

do  The  backgrounds  of  both  medallions  shaded  ; but  the 
figures  in  outline  only.  The  letters  of  the  inscription 
below  are  shaded  in  this  and  in  all  subsequent  states. 
Brit:  Mus. 

do  The  same  ; but,  in  addition,  the  head  of  the  portrait  is 
finished  except  for  the  final  touches.  Brit:  Mus. 

I.  As  first  described  above.  Brera  ; F.R.H. 


CHR  O NO L O GICAL 

LIST  OF  PLATES. 


1769. 

NO.  PAGE. 


A Boy  Kneeling  in  Prayer  ' . 

27 

25 

Landscapes  after  Londonio,  see  Shepherds,  etc.,  2 plates 

■ T55 

141 

A Sketch  of  the  Trunk  of  a Tree,  see  Tree  .... 

. 169 

*53 

1770. 

Eight  Figures  of  the  Prophets,  see  Prophets,  etc.  . 

. 148 

*33 

1773- 

The  Game  of  Ball,  see  Game,  etc.  ..... 

70 

59 

The  Statue  of  Isis,  see  Isis  ....... 

. 80 

65 

1774. 

Seven  Views  near  Naples,  see  Views  ..... 

• *73 

156 

1777. 

P.  Ferdinand  IV 

60 

61 

Maria  Carolina 

1 1 1 

98 

The  Masquerade  at  Naples,  see  Masquerade  .... 

• ”5 

101 

The  Arms  of  the  Duke  di  Cassano  Serra,  see  Cassano  Serra  . 

• 32 

28 

Christ  Appearing  as  a Gardener  ...... 

• 39 

35 

1779- 

St.  Mary  Magdalen,  after  Guido  Reni,  see  Magdalen 

. 108 

95 

Painting,  after  Gav.  Hamilton 

■ 136 

123 

167 


CHRONOLOGICAL  LIST  OF  PLATES. 


1 68 


1780. 

NO.  PAGE. 


Poetry,  after  Gav.  Hamilton  ....... 

i4S 

130 

Madonna  Addolorata  ......... 

92 

81 

“ “ 

93 

81 

A Marine  View,  see  Marine,  etc.  ....... 

113 

100 

Four  Illustrations  to  the  History  of  Germanicus,  see  Germanicus  . 

7i 

59 

1781. 

Poetry,  after  Raff.  Sanzio  ........ 

146 

131 

Theology  “ “ ........ 

162 

146 

Jurisprudence,  after  Raff.  Sanzio  ....... 

82 

66 

Four  Illustrations  for  the  Versi  e Prose  of  the  Princess  della  Roc- 

cella,  see  Roccella,  etc.  ........ 

150 

*35 

The  Mass  of  Bolsena,  see  Messa,  etc 

118 

104 

Portrait  after  Miereveld,  see  William  II.,  etc.  .... 

181 

162 

Philosophy,  after  Raff.  Sanzio  ....... 

142 

128 

Justice  « « « ....... 

83 

67 

Dafni  ed  Amore  .......... 

47 

4i 

Dafni  e Fille  . . . . 

48 

42 

La  Madonna  dal  Frate,  see  Madonna,  etc 

105 

94 

Two  Infant  Bacchanals,  Illustration  to  Tibullus,  see  Bacchanals 

18 

19 

“ “ “ “ “ “ “ “ 

19 

20 

Eight  Outline  Landscapes  for  Coloring,  see  Views,  etc. 

176 

158 

Lo  Studio  del  Disegno,  see  Disegno,  etc  ..... 

51 

45 

1784. 

Parnassus . 

137 

124 

Diana  and  her  Nymphs  ........ 

5° 

43 

1786. 

|j.  Stanislaus  Augustus  of  Poland 

156 

141 

|1.  Cardinal  Herzan,  see  Herzan  ...... 

77 

64 

|1.  Gaetano  Filangieri  ........ 

61 

52 

St.  John  the  Baptist,  after  Guido  Reni 

152 

i37 

The  Holy  Family,  after  Rubens,  see  Holy  Family,  etc.  . 

78 

64 

1787- 

Two  Illustrations  to  Componimenti per  le  Nozze  del  Conte  Sanvitale 

see  Germanicus,  etc.  ........ 

72 

60 

Theseus 

164 

147 

|).  San  Filippo  Neri,  see  Neri 

132 

119 

La  Madonna  di  Fries,  see  Madonna  ...... 

102 

9i 

Aurora  ........... 

16 

i7 

Morghen’s  own  Portrait  (dry-point  profile  to  the  right)  . 

126 

IT3 

CHRONOLOGICAL  LIST  OF  PLATES . 


NO. 

PAGE. 

Vignette  Visiting  Card  for  Ulisse  Pentini,  see  Pentini  . 

x39 

126 

“ of  the  City  of  Todi,  see  Todi 

166 

I48 

Lot  and  his  Daughters  ......... 

87 

76 

The  Repose  in  Egypt,  see  Repose,  etc 

149 

J34 

The  Seasons,  see  Seasons  ........ 

154 

T39 

Angelica  e Medoro  ......... 

1 1 

12 

Three  Illustrations  to  the  Funeral  Services  of  Charles  III.  of  Spain, 

see  Charles  III.,  etc.  ........ 

36 

32 

$.  Charles  III 

35 

31 

|.  Charles  IV 

37 

33 

|).  Ferdinand  IV. 

59 

5° 

Head  of  Augustus  Caesar,  see  Augustus  ...... 

14 

16 

The  Comic  Muse,  a Portrait  of  Lady  Hamilton,  see  Comic  Muse  . 

44 

39 

Head  of  Jupiter  HSgiacus,  see  Jupiter 

81 

66 

J).  Filippo  Morghen,  Raphael’s  Father,  see  Morghen  . 

125 

xx3 

P.  Pope  Pius  V.,  see  Pius  V 

144 

129 

Francesco  Algarotti  ........ 

9 

7 

Tomb  of  Pope  Clement  XIII. 

43 

38 

Suor  Maria  dell’  Incarnazione  ....... 

157 

142 

“ “ “ “ 

158 

i43 

159 

J43 

|).  General  Moncada,  see  Moncada  ...... 

121 

107 

The  Nativity,  see  Nativity 

1 3i 

1 18 

1793. 

La  Madonna  della  Seggiola  (The  larger  plate.),  see  Madonna 

100 

87 

Charity  ............ 

34 

3° 

ffi.  Vittorio  Alfieri 

6 

6 

|l.  Group  of  the  Family  of  the  Princess  Bariatinski,  see  Baria- 

tinski  . . . . . 

21 

21 

|1.  Domenica  Volpato  Morghen,  see  Morghen  .... 

124 

1 12 

|),  Fortunata  Sulgher  Fantastici,  see  Fantastici  .... 

55 

47 

Niccolb  Macchiavelli,  see  Macehiavelli  ..... 

91 

80 

|).  Medallion  Head  of  Ovid,  see  Ovid 

x35 

122 

|).  A Nun 

*34 

122 

|).  Madama  Fulger,  see  Fulger 

67 

57 

1795. 

La  Madonna  del  Sacco,  see  Madonna  ...... 

99 

86 

The  Transfiguration,  Begun,  after  dell’  Era’s  Drawing,  see  Trans- 

figuration  .......... 

167 

148 

1797. 

The  Last  Supper,  Begun,  see  Last  Supper 

84 

68 

170  CHRONOLOGICAL  LIST  OF  PLATES. 


NO. 

La  Madonna  di  Tiziano,  see  Madonna  ......  104 

Vignette  Visiting  Card  for  Senator  Bartolini  Baldelli,  see  Bartolini  . 22 

Venus  Coming  from  the  Bath 172 

1800. 

The  Last  Supper,  Finished 84 

|).  Diodato  Turchi 171 

La  Madonna  del  Caravaggio 95 

Vignette  for  the  Bond  of  the  Monte  Redimibile , see  Monte , etc.  . 122 
“ “ General  Murat,  see  Murat  . . . . .128 

The  Archangel  Gabriel,  see  Gabriel  ......  68 

The  Final  Touches  to  Antonio’s  Transfiguration,  ji?d?  Transfiguration,  167 
|p.  Giovanni  Volpato,  see  Volpato  . . . . . . 179 

|p.  Giorgio  Jonas  Mayer,  see  Mayer  . . . . . .116 

The  Repentant  Magdalen,  after  Murillo,  see  Magdalen  . . 109 

1801. 

The  Transfiguration,  Begun,  after  Tofanelli’s  Drawing,  see  Trans- 
figuration ..........  168 

1802. 

|).  Dr.  Attilio  Zuccagni,  and  the  Obverse  of  the  Medallion,  see 

Zuccagni  . . . . . . . . . .182 

|).  San  Filippo  Neri,  after  a Drawing  by  Tofanelli,  see  Neri  . 133 

|).  Bindo  Altoviti,  see  Altoviti 10 

1803. 

|).  Dante.  (The  larger  plate.)  .......  45 

|).  Louis  XVIII.,  a profile  head  after  Tofanelli  ...  88 

|).  “ “ a half-length  figure  .....  89 

1804. 

||.  The  King  and  Queen-Regent  of  Etruria,  see  Carlo,  etc  . . 31 

Vignette  Book-plate  for  the  King  of  Etruria,  see  Etruria  . . 54 

|).  The  Eldest  Son  of  Francis  II.  of  Austria,  see  Austria  . . 17 

La  Madonna  di  Caracci,  see  Madonna  ......  94 

|).  “ La  Fornarina,”  Begun,  see  Fornarina  . . . .64 

S.  Maria  de’  Pazzi  con  la  Beata  Bagnesi  in  Gloria  . . . 153 

1805. 

|p.  Petrarca 141 

^Esculapius  and  Hygeia  ........  2 

P.  Canova,  after  Antonio  d’Este  ......  29 

1806. 

|p.  Dante.  (The  smaller  plate.) 46 


PAGE. 

92 

22 

156 

68 

154 

82 

109 

“5 

58 

148 

160 

101 

95 


163 

121 

10 

39 

78 

79 

28 

46 

19 

82 

54 

138 

126 

2 

26 


CHRONOLOGICAL  LIST  OF  PLATES. 


1 7l 

NO.  PAGE. 

The  Head  Called  “ La  Fornarina,”  in  the  Transfiguration,  see  For- 


narina  ........... 

65 

56 

g. 

Tasso  ........... 

160 

144 

!• 

Napoleon  I.  .........  . 

129 

116 

1811. 

The  Transfiguration,  after  Tofanelli’s  Drawing,  Finished 

168 

i5° 

1812. 

i- 

Equestrian  Portrait  of  Napoleon  I.,  Begun,  see  Napoleon 

130 

118 

!• 

Arianne  Pessuti,  see  Pessuti  ....... 

140 

126 

1814. 

g- 

Gian-Jacopo  Trivulzio,  see  Trivulzio  ..... 

170 

*53 

La  Madonna  del  Cardellino,  see  Madonna  ..... 

96 

83 

1- 

Ferdinand  III.,  Grand  Duke  of  Tuscany  .... 

57 

48 

I- 

“ La  Fornarina,”  Finished,  see  Fornarina  .... 

64 

54 

1- 

Elisa  Bonaparte  Bacciocchi,  see  Bacciocchi  .... 

20 

20 

1815. 

Christ  Holding  a Wreath  of  Roses  ....... 

40 

35 

g- 

Pope  Leo  X.,  see  Leo  ........ 

86 

74 

La  Madonna  del  Latte,  see  Madonna  ...... 

98 

85 

1816. 

1- 

Louis  XVIII.,  after  Augustin  ...... 

90 

79 

|. 

Carlo  Alessandro  Volta,  see  Volta 

180 

161 

Christ  Appearing  to  Magdalen  in  the  Garden  .... 

38 

34 

1817. 

i- 

Lionardo  da  Vinci,  see  Vinci  . 

178 

159 

Constanza  Raimondi  de’  Fornari  ...... 

63 

53 

g. 

Michel  Angelo,  after  Santarelli,  see  Buonarrotti 

24 

24 

g- 

Count  Angelo  d’Elci,  see  Elci ....... 

53 

46 

g. 

Giovanni  degli  Alessandri,  see  Alessandri  .... 

5 

5 

i- 

Prince  Metternich,  see  Metternich  ...... 

119 

106 

Ecce  Homo,  after  da  Vinci 

52 

45 

1818. 

Christ  Seated  on  Clouds  (Sic  Deus  dilexit,  etc.)  . . . . 

41 

36 

1819. 

g. 

Francis  I.  of  Austria  ........ 

66 

56 

g- 

Raphael  Morghen  (dry-point  profile  to  the  left),  see  Morghen, 

127 

T14 

g- 

Madonna  Laura,  see  Laura  ....... 

85 

72 

172 


CHRONOLOGICAL  LIST  OF  PLATES. 


1820. 

NO. 

PAGE. 

I- 

Francesco  Guicciardini,  see  Guicciardini  .... 

75 

62 

1- 

Lorenzo  de’  Medici,  see  Medici  ...... 

117 

IO3 

1821. 

$• 

Ferdinand  III.,  Grand  Duke  of  Tuscany,  after  Ender,  . 

58 

49 

Three  Ages,  see  Ages  ......... 

3 

3 

I- 

Queen  Joanna  of  Aragon,  see  Aragon  ..... 

12 

13 

1822. 

!• 

$• 

Carlo  Goldoni,  after  Fedi,  see  Goldoni 

73 

61 

Carlo  Goldoni,  after  Cateni,  see  Goldoni  .... 

74 

61 

!• 

Maria  Ferdinanda,  Grand  Duchess  of  Tuscany 

112 

99 

I- 

Giovacchino  Rossini,  see  Rossini  ...... 

151 

136 

$• 

Giovanni  Boccaccio,  see  Boccaccio  ...... 

23 

23 

1- 

The  Marchioness  of  Vintimiglia,  Duchess  of  Alba,  see  Alba  . 

4 

5 

!• 

Dr.  Antonio  Pittaro,  see  Pittaro  ...... 

143 

129 

$• 

Lord  Byron,  see  Byron  ........ 

28 

26 

$• 

Giovanni  Fantoni,  see  Fantoni  ...... 

56 

47 

1823. 

Saint  Mary  Magdalen,  after  Carlo  Dolci,  see  Magdalen  . 

no 

97 

11  Morbetto  di  Raffaello  (The  Plague.),  see  Morbetto 

123 

in 

La  Madonna  del  Granduca,  see  Madonna  ..... 

97 

84 

§• 

Antonio  Canova,  after  Benvenuti,  see  Canova 

29 

26 

1827. 

Poetry,  after  Carlo  Dolci  ........ 

147 

132 

1829. 

*• 

Michel  Angelo  ......... 

26 

25 

La 

Madonna  della  Seggiola  (The  smaller  plate)  ; finished  in 

1832  by  G.  Calendi,  see  Madonna 

IOI 

90 

1832. 

La  Madonna  di  Sassoferrato,  see  Madonna 

103 

92 

INDEX 


OF  ARTISTS. 


Andrea  del  Sarto,  see  Sarto 
Atoche  (Dr.  Pittaro),  129 
Augustin  (Louis  XVIII.),  79 

Bandinelli,  Baccio  (8  Prophets),  133 
Barbieri,  see  Guercino 
Baroccio  (Noli  me  tangere),  34 
Bartolini  (Byron),  26 
“ (Rossini),  136 
Bartolomeo,  Fra  (Madonna),  94 
Benvenuti  (Canova),  26 
Bianconi  (Algarotti),  7 
Bronzino  (Macchiavelli),  80 

Canova  (Theseus),  147 

“ (Tomb  of  Clement  XIII.),  38 
Caracci  (Madonna),  82 
Cardelli  (Stanislaus  Augustus),  141 
Counis  (Elisa  Bonaparte  Bacciocchi),  20 

David  (Napoleon),  118 
d’Este,  Antonio  (Canova),  27 
Dolci,  Carlo  (Christ  as  a Child),  35 
“ “ (Christ  Displaying  his 

Wounds),  36 

Dolci,  Carlo  (Poetry),  132 
Du  Cros  (Marine  View),  100 

Ender  (Ferdinand  III.),  49 
Ermini  (S.  M.  Mad.  de’Pazzi),  138. 

“ (Tasso),  144 


Este,  d’,  see  d’Este. 

Ettlinger  (G.  Jonas  Mayer),  101 

Fabre  (Alfieri),  6 

Fischietti  (Princess  della  Roccella),  135 
Frate,  Domenico  del  (Marriage  of  Ger- 
manicus),  60 

Garofalo  (Madonna  del  Latte),  85 
Gerard  (Three  Ages),  3 
“ (Boccaccio),  23 
“ (Napoleon),  116 
Gozzini  (Maria  Ferd.  di  Sassonia),  99 
Grand  Jean  (History  of  Germanicus),  59 
Guercino  (Lot  and  Daughters),  76 
Guido  Reni  (Aurora),  17 
“ “ (Magdalen),  95 

“ “ (St.  John),  137 

Hamilton  (Painting),  123 
“ (Poetry),  130 

Kauffmann  (Bariatinski),  21 
“ (Comic  Muse),  39 

“ (Fortunata  Sulgher  Fantas- 

tic), 47 

Kauffmann  (Domenica  Volpato),  112 
“ (Giov.  Volpato),  160 

L.  A.  (Pius  V.),  129 

Lapi  (Monte  Redimibile),  109 


i73 


*74 


INDEX  OF  ARTISTS. 


Liani  (Ferdinand  IV.),  50 
Lionardo,  see  Vinci,  da 

Maron  (Herzan),  64 
Memmi  (Mad.  Laura),  72 
Mengs  (Charles  III.),  31 
“ (Nativity),  118 
“ (Parnassus),  124 
Miereveld  (William  of  Nassau),  162 
Mingardi  (Algarotti),  7 
Mola  (Two  Bacchanals),  19 
20 

Morghen,  (Bartolini),  22 

“ (Game  of  Ball),  59 

“ (Masquerade  at  Naples),  101 

“ (Pessuti),  126 

“ (S.  Filippo  Neri),  119 

“ (Views  near  Naples),  156 

Morghen,  Guglielmo  (Filippo  Morghen), 

113 

Murillo  (Penitent  Magdalen),  95 

Nahl  (Dafni  ed  Amore),  41 
“ (Dafni  e Fille),  42 

Panario  (Fornari),  53 
Poussin  (Adoration  of  the  Magi),  1 
“ (Repose  in  Egypt),  134 

“ (Seasons),  139 

Raphael  Sanzio  (Altoviti),  10 

“ (Fisionomie  cognite),  53 
“ (Fornarina),  54 
“ (Head  of  Fornarina),  56 
“ (Joan  of  Aragon),  13 
“ (Jurisprudence),  66 
“ “ (Leo  X.),  74 

“ (Mad.  del  Cardellino),  83 


Raphael  Sanzio  (Mad.  del  Granduca),  84 
“ (Mad.  della  Seggiola), 

87,  90 

Raphael  Sanzio  (Mass  of  Bolsena),  104 
“ (Morbetto),  in 
“ (Philosophy),  128 
“ (Poetry),  13 1 
“ (Theology),  146 
“ (Transfiguration),  148, 

150 

Reni,  see  Guido 
Rubens  (Holy  Family),  64 

Santarelli  (Carlo  Lodovico  d’Etruria),  28 
“ (Michel  Angelo),  24 

“ (Zuccagni),  163 

Tenderini  (Giov.  Fantoni),  47 
Titian  (Madonna),  92 
Tofanelli  (Dante),  39,  41 
“ (Filangieri),  52 

“ (Funeral  of  Charles  III.),  32 
“ (Hercules  as  a Child),  64 
“ (Louis  XVIII.),  78 

“ (Napoleon),  116 

“ (Petrarch),  126 

“ (S.  Filippo  Neri),  121 

Van  Dyck  (Moncada),  107 
Vasari  (Lorenzo  de’  Medici),  103 
Veccelli — see  Titian 
Vieira  (Turchi),  154 
Vinci,  Leonardo  da  (Tres  sunt,  etc.),  37 
“ (Ecce  Homo),  45 
“ (Last  Supper),  68 

Zampieri  (Diana  and  her  Nymphs),  43 


ALPHABETICAL 

INDEX  OF  SUBJECTS. 


NO. 

Adoration  of  the  Magi,  The.  N.  Poussin  .....  i 

Adoration  of  the  Shepherds,  The.  Raph.  Mengs  . . .131 

^Esculapius  and  Hygeia.  An  Antique  ......  2 

Ages,  The  Three.  Girard  ........  3 

“ Les  Trois.  “ ........  3 

Alba,  The  Duchess  of,  Princess  of  Vintimiglia  ....  4 

Alessandri,  Giovanni  degli  . . . . . . . 5 

Alfieri,  Count  Vittorio.  F.  X.  Fabre .6 

“ “ “ “ 7 

“ “ 8 

Algarotti,  Count  Francesco,  Illustrations  to  the  Works  of  . 9 

Alighieri,  Dante.  Tofanelli.  The  Larger  Plate  ....  45 

“ Smaller  “ . . .46 

Altoviti,  Bindo.  Raph.  Sanzio  .......  10 

Amor,  Daphnis  and.  A.  Nahl  . . • . . . -47 

Angelica  and  Medoro.  Matteini  . . . . . . .11 

Angelo  Buonarotti,  Michel.  Santarelli  .....  24 

“ 25 

“ Morghen  ......  26 

Apollo  and  the  Muses.  R.  Mengs  . . . . . .137 

Apollo,  The  Chariot  of.  Guido  Reni  . . . . ■ .16 

Aragon,  Joanna,  Queen  of.  Raph.  Sanzio  . . . . .12 

Ariosto,  Lodovico.  P . Ermini  . . . . . . 13 

Arms  of  the  Duke  di  Cassano  Serra  . . . . . -32 

Augustus  Csesar,  Antique  head  of.  B.  Salesa  ....  14 


PAGE. 

118 

2 

3 

3 

5 

5 

6 

6 

6 

7 

39 

4i 

10 

4i 

12 

24 

24 

25 

124 

17 

13 

iS 

28 

16 


i75 


ALPHABETICAL  INDEX  OF  SUBJECTS. 


176 


Augustus  Constantius.  Antique  ...... 

NO. 

IS 

PAGE. 

17 

Aurora  with  Apollo  and  the  Hours.  Guido  Rheni 

16 

17 

Austria,  Archduke  Ferdinand  of.  Santarelli 

17 

19 

Bacchanals,  Two  Infant.  F.  Mola  ..... 

18 

19 

“ “ “ “ ..... 

19 

20 

Bacciocchi,  Elisa  Bonaparte.  Counis  ..... 

20 

20 

Ball,  The  Game  of.  Morghen 

70 

59 

Ballo  delle  Stagioni.  Poussin  ...... 

iS4 

139 

Bariatinski,  The  Family  of  the  Princess.  Ang.  Kauffmann  . 

21 

21 

Bartolini,  Visiting  Card  for  the  Senator  .... 

22 

22 

Bindo  Altoviti.  Raph.  Sanzio  ...... 

10 

IO 

Boccaccio,  Giovanni.  Gozzini  ...... 

23 

23 

Bolsena,  The  Mass  of.  Raph.  Sanzio  ..... 

118 

104 

Book-plate  for  the  King  of  Etruria  ..... 

54 

46 

Boy  Kneeling  in  Prayer  . . • 

27 

25 

Buonarotti,  Michel  Angelo.  Santarelli  .... 

.24 

24 

U ii  U . 

25 

24 

“ Morghen  ..... 

26 

25 

Byron,  Lord.  Bartolini 

28 

26 

Caccia  di  Diana,  La.  Dornenichino  ..... 

5° 

43 

Canova,  Antonio.  Benvenuti  ...... 

29 

26 

Ant.  d'Fste  ...... 

30 

27 

Caracci,  La  Madonna  di.  Caracci  ..... 

94 

82 

Caravaggio,  La  Madonna  di.  Caravaggio  .... 

95 

82 

Cardellino,  La  Madonna  del.  Raph.  Sanzio 

96 

83 

Caritas,  I.  Unterberger  ....... 

34 

3° 

Carlo  Lodovico  and  Maria  Louisa.  Santarelli 

3i 

28 

Cassano  Serra,  Arms  of  the  Duke  of.  .... 

32 

28 

Cena,  La.  L.  da  Vinci  ....... 

84 

68 

Cellini,  Benvenuto.  Vasari  . . . . . . 

33 

29 

Charity.  I.  Unterberger  . ... 

34 

30 

Charles  Lewis  and  Maria  Louisa.  Santarelli 

3i 

28 

Charles  III.,  of  Spain.  R.  Mengs  ..... 

35 

3i 

“ “ “ The  Funeral  Oration  of.  Tofanelli 

36 

32 

Charles  IV 

37 

33 

Christ  Appearing  to  Magdalen  in  the  Garden.  Baroccio 

38 

34 

“ Appearing  to  Magdalen  in  the  Form  of  a Gardener.  E.  Sadeler, 

39 

35 

“ as  a Child,  Holding  a Wreath  of  Flowers.  Carlo  Dolci 

40 

35 

“ Displaying  his  Wounds.  Carlo  Dolci  .... 

41 

36 

“ Head  of.  L.  da  Vinci 

52 

45 

“ Proclaiming  the  Law.  L.  da  Vinci  .... 

42 

37 

ALPHABETICAL  INDEX  OF  SUBJECTS. 


1 77 


NO. 

PAGE. 

Clement  XIII.,  The  Tomb  of  Pope.  Canova 

43 

38 

Comic  Muse,  The.  Ang.  Kauffmann  . 

44 

39 

Constantius  Augustus.  Antique  .... 

IS 

i7 

Dafni  ed  Amore.  Nahl 

47 

4i 

Dafni  e Fille.  Nahl 

48 

42 

Dance  of  the  Hours  to  the  Tune  of  Time.  Poussin 

!54 

i39 

Dante  Alighieri  (The  Larger  Plate).  Tofanelli  . 

45 

39 

“ (The  Smaller  Plate).  “ 

46 

41 

Denison,  Portrait  of  Mr 

49 

43 

De  Paul,  St.  Vincent 

138 

I25 

Diana  and  her  Nymphs.  Domenichino  . 

5° 

43 

Disegno,  Lo  Studio  del  ...... 

51 

45 

Dog’s  Cave,  The 

i74 

!57 

Ecce  Homo.  L.  da  Vinci  ..... 

52 

45 

Ego  vox  clamantis,  etc.  Guido  Reni 

IS2 

i37 

Elci,  Count  Angelo  d ’.  Morghen 

S3 

46 

Etruria,  Book-plate  for  the  King  of 

54 

46 

Fantastici,  Fortunata  Sulgher.  Ang , Kauffmann  . 

55 

47 

Fantoni,  Giovanni.  Tenderini  .... 

56 

47 

Ferdinand  III.,  Grand  Duke  of  Tuscany 

57 

48 

Ender 

58 

49 

Ferdinand  IV.,  King  of  the  Two  Sicilies 

59 

5o 

“ “ F.  Liani 

60 

5i 

Filangieri,  Gaetano.  Tofanelli  .... 

61 

52 

Fisionomie  Cognite.  Raff.  Sanzio 

62 

53 

Fornari,  The  Marchesa  Constanza  Raimondi  de’.  A.  Panario 

63 

53 

Fornarina,  La.  Raff.  Sanzio 

64 

54 

“ Head  of  the  Figure  in  the  Transfiguration  called. 

Raff.  Sanzio  . ' 

65 

56 

Fortunata  Sulgher  Fantastici  .... 

55 

47 

Francis  I.  of  Austria  ...... 

66 

56 

“ II.  “ Eldest  Son  of 

17 

19 

Fulger,  Portrait  of  Madama.  Morghen 

67 

57 

Funeral  Services  of  Charles  III.  Tofanelli  . 

36 

32 

Gabriel,  The  Archangel.  Sabatelli 

68 

58 

Gallo,  Visiting  Card  for  the  Marchese  di.  Morghen 

69 

58 

Game  of  Ball.  Morghen  ..... 

70 

59 

Germanicus,  Four  Illustrations  Relating  to  the  History  of.  Grand 

Jean  Orlandese  ...... 

7i 

59 

Germanicus,  The  Marriage  of,  with  Agrippina.  D. 

del  Frate 

72 

60 

i78 


ALPHABETICAL  INDEX  OF  SUBJECTS. 


NO.  PAGE. 


Gesner,  Idillj  di.  A.  Nahl 

47 

4i 

“ “ “ “ 

48 

42 

Giuoco  di  Pallone,  11.  Morghen  ...... 

70 

59 

Goldoni,  Carlo.  Fedi  ......... 

73 

61 

“ “ Cateni  ........ 

74 

61 

Grotta  del  Cane 

J74 

*57 

Guicciardini,  Francesco.  Morghen  ...... 

75 

62 

Hamilton,  Lady,  as  tha  Comic  Muse.  Ang.  Kauffmann 

44 

39 

Head  and  Bust  of  a Man  (Tommaso  Inghirami)  .... 

79 

65 

Hercules  as  an  Infant.  Tofanelli  ...... 

76 

64 

Herzan,  Cardinal.  A.  Maron  ....... 

77 

64 

Holstein-Beck,  The  Family  of  the  Princess  of.  Ang.  Kauffmann  . 

21 

21 

Holy  Family.  Rubens  ......... 

78 

64 

Hygeia,  ^Esculapius  and.  Antique  ...... 

2 

2 

Idillj  di  Gesner.  A.  Nahl 

47 

41 

“ “ “ “ 

48 

42 

Image  de  la  Vie  Humaine.  Poussin , see  Ages  .... 

3 

3 

Inghirami,  Tommaso  ......... 

79 

65 

Isis,  Statue  of.  Antique  ........ 

80 

65 

John  the  Baptist,  St.  Guido  Reni . ...... 

152 

i37 

Jupiter,  Head  of.  Antique  ........ 

81 

66 

Jurisprudence.  Raff.Sanzio.  ....... 

82 

66 

Justice.  Raff.  Sanzio 

83 

67 

Landscape,  du  Cros,  see  Marine  View  ...... 

113 

100 

Landscapes,  Two.  Londonio , see  Shepherds,  etc. 

i55 

141 

Last  Supper,  The.  L.  da  Vinci  ....... 

84 

68 

Laura,  Madonna.  S.  Memmi  ....... 

85 

72 

Leo  X.,  The  Pope,  with  Attila.  Raff.  Sanzio  .... 

62 

53 

“ “ Portrait  of  Pope.  Raff.  Sanzio  ..... 

86 

74 

Leonardo  da  Vinci  . . ... 

178 

159 

Lorenzo  de’  Medici.  G.  Vasari 

117 

103 

Lot  and  his  Daughters.  II.  Guercino  ...... 

87 

76 

Louis  XVIII.  of  France.  Tofanelli 

88 

78 

“ “ “ ...... 

89 

79 

Augustin  ...... 

90 

79 

Macchiavelli,  Niccolo.  A.  Bronzino 
Madonna  Addolorata 


91  80 

92  81 

93 
106 


and  Child 


94 


ALPHABETICAL  INDEX  OF  SUBJECTS. 

179 

NO. 

PAGE. 

Madonna  and  child  ......... 

107 

94 

“ di  Caracci.  L.  Caracci 

94 

82 

“ di  Caravaggio  ........ 

95 

82 

“ dal  Frate.  Fra  Bartolomeo  ..... 

105 

94 

“ del  Cardellino.  Raff.  Sanzio  ..... 

96 

83 

“ “ Granduca.  “ “ ..... 

97 

84 

“ “ Latte.  B.  Garofalo  ...... 

98 

85 

“ “ Sacco.  A.  del  Sarto  ...... 

99 

86 

“ della  Sedia.  (The  Larger  Plate.)  Raff.  Sanzio  . 

100 

87 

“ “ ( “ Smaller  “ ) “ “ . . 

IOI 

90 

“ di  Fries.  A.  del  Sarto 

102 

91 

“ “ Sassoferrato  ........ 

103 

92 

“ “ Tiziano  ......... 

104 

92 

“ Laura.  S.  Memmi  ....... 

85 

72 

Magdalen,  Half-figure.  Guido  Reni  ...... 

108 

95 

“ The  Repentant.  Murillo  ...... 

109 

95 

“ with  the  Vase.  Carlo  Dolci  ..... 

no 

97 

Maria  del  Incarnazione,  Suor.  Matteini  .... 

157 

142 

U (i  U « “ 

158 

T43 

iC 

*59 

*43 

Maria  Carolina,  Queen  of  the  Two  Sicilies.  F.  Liani  . 

in 

98 

“ de’  Pazzi,  Santa.  P.  Ermini  ...... 

i53 

138 

“ Ferdinanda,  Principessa  di  Sassonia.  V.  Gozzini 

112 

99 

“ Louisa.  Santarelli  ........ 

31 

28 

Marine  View,  du  Cros  ......... 

Masquerade,  Representing  the  Procession  of  the  Grand  Signor  to 

”3 

100 

Mecca.  Morghen  ......... 

”5 

IOI 

Marriage  of  St.  Catharine,  The  ....... 

114 

100 

Mass  of  Bolsena,  The.  Raff.  Sanzio  ...... 

118 

104 

Mater  Divinse  Gratise.  B.  Garofalo  ...... 

98 

85 

“ Pulcrpe  Dilectionis.  Raff.  Sanzio  ..... 

96 

83 

Mayer,  Georgio  Jonas.  Ettlinger  ....... 

116 

IOI 

Medici,  Lorenzo  de’.  G.  Vasari  ....... 

117 

103 

Medoro,  Angelica  and.  Matteini  ....... 

11 

12 

Messa  di  Bolsena,  La.  Raff.  Sanzio  ...... 

118 

104 

Metternich,  Prince.  Morghen  ....... 

n9 

106 

Minerva,  Vignette  with  ......... 

120 

107 

Moncada,  Francesco  di.  Van  Dyck  ...... 

121 

107 

Mont  de  Piete,  Bond  of  the.  Lapi  ...... 

122 

IO9 

Monte  Cavallo,  View  of  the 

i39 

126 

“ Redimibile,  Bond  Engraved  for  the.  A.  E.  Lapi 

122 

IO9 

Morbetto  di  Raffaello,  11.  Raff.  Sanzio 

123 

III 

Morghen,  Card  of  Invitation  to  Visit  the  Studio  of  Filippo 

165 

148 

i8o 


ALPHABETICAL  INDEX  OF  SUBJECTS. 


NO.  PAGE. 


Morghen,  Domenica  Volpato.  Ang.  Kauffmann  . 

124 

112 

“ Filippo.  Gugl.  Morghen  .... 

12s 

”3 

“ Raphael.  Gugl.  Morghen  .... 

126 

”3 

Ipse  ...... 

127 

114 

Murat,  Vignette  Engraved  for  General  .... 

128 

”5 

Muse,  The  Comic.  Ang . Kauffmann  .... 

44 

39 

Naples,  Seven  Views  near  the  City  of.  Morghen  . 

173 

156 

Napoleon  I.  Tofanelli  ...... 

129 

116 

“ “ Crossing  the  Mont  St.  Bernard.  David  . 

130 

118 

Nativity,  The.  R.  Mengs  ...... 

131 

118 

Neri,  San  Filippo.  Morghen  .... 

132 

119 

Tofanelli  ..... 

133 

121 

Noli  me  Tangere.  F.  Baroccio  ..... 

38 

34 

Nun,  Portrait  of  an  Unknown  ..... 

T34 

122 

Ovid 

i3S 

122 

Padua,  Eleven  Views  of  the  City  of.  Morghen 

175 

158 

Pagherb  di  Scudi  (Bond  of  the  Monte  Redimibile).  A. 

E.  Lapi  . 

122 

109 

Painting.  Gav.  Hamilton  ...... 

1 36 

123 

Pallone,  11  Giuoco  di.  Morghen  ..... 

70 

59 

Parnassus.  R.  Mengs  ....... 

i37 

124 

Paul,  St.  Vincent  de 

138 

125 

Pazzi,  Santa  Maria  de’.  Ermini  ..... 

153 

138 

Peinture,  La.  Gav.  Hamilton  ..... 

136 

123 

Pentini,  Ulisse 

i39 

126 

Pessuti,  Arianne.  Morghen  ...... 

140 

126 

Pestilence,  The.  Raff.  Sanzio , see  Morbetto 

123 

rri 

Peter  the  Great.  Mingardi  ...... 

9 

10 

Petrarca,  Francesco.  Tofanelli  ..... 

141 

126 

Philosophy.  Raff.  Sanzio  ...... 

142 

128 

Piccolo  Redentore,  11.  L.  da  Vinci  .... 

52 

45 

Pittaro,  Dr.  Antonio.  Atoche  ..... 

i43 

129 

Pittura,  La.  Gav.  Hamilton  ..... 

136 

123 

Pius  V.,  Pope.  L.  A 

144 

129 

Plague,  The.  Raff.  Sanzio , see  Morbetto 

123 

hi 

Poetry,  G.  Hamilton  ....... 

145 

130 

“ Raff.  Sanzio  ....... 

146 

r3i 

“ Carlo  Dolci  ....... 

147 

132 

Portrait  of  Mr.  Denison  ...... 

49 

43 

“ “ Tommaso  Inghirami  . . . . . 

79 

65 

Presepio,  11.  Raph.  Mengs , see  Nativity 

!3! 

118 

ALPHABETICAL  INDEX  OF  SUBJECTS. 

181 

NO. 

PAGE. 

Prix  de  Diane,  Le  Domenichino , see  Diana,  etc.  .... 

5° 

43 

Prophets,  Eight  Figures  of  the.  Bandinelli  ..... 

148 

z33 

Pulcra  es  et  decora,  etc.  Faff.  Sanzio  ...... 

97 

84 

“ Raffaelle  Sanzio.”  Raff.  Sanzio  ...... 

10 

10 

Redentore,  11  Piccolo  ......... 

52 

45 

Repose  in  Egypt.  Poussin  ........ 

149 

i34 

Roccella,  Portrait  of,  and  Three  Illustrations  for  her  Works.  Fischietti , 

i5° 

*35 

Rossini,  Giovacchino.  Bartolini  ....... 

151 

136 

St.  John  in  the  Wilderness.  Guido  Reni  ..... 

152 

*37 

St.  Vincent  de  Paul 

138 

I25 

Santa  Maria  Maddalena  de’Pazzi  con  la  Beata  Bagnesi  in  Gloria. 
Ermini  ........... 

i53 

z38 

Sanvitale,  Vignette  for  the  Marriage  of  Count,  see  Germanicus 

72 

60 

Seasons,  The.  Poussin  ......... 

i54 

z39 

Shepherds  and  Cattle.  Londonio  ....... 

155 

141 

Sic  Deus  dilexit  Mundum.  Carlo  Dolci  ..... 

41 

36 

Stanislaus  Augustus  of  Poland.  Cardelli  ..... 

156 

141 

Sulgher  Fantastici,  Fortunata.  Ang.  Kauffmann  .... 

55 

47 

Suor  Maria  dell’  Incarnazione.  Matteini  ..... 

157 

142 

« « « “ * « 

158 

z43 

a u u u 

i59 

i43 

Tasso,  Torquato  (The  Larger  Plate).  Ermini  .... 

160 

144 

“ (The  Smaller  Plate) 

161 

z45 

Theology.  Raff.  Sanzio 

162 

146 

Theology.  Raff.  Sanzio.  (The  Smaller  Plate)  .... 

163 

r47 

Theseus  Seated  on  the  Conquered  Minotaur.  Canova  . 

164 

147 

Ticket  of  Invitation  to  Visit  Filippo’s  Studio  .... 

165 

148 

Todi,  View  of  the  City  of 

166 

148 

Transfiguration,  The.  dell'  Era  del.  Raff.  Sanzio 

167 

148 

“ Tofa7ielli  del.  “ “ ... 

168 

z5° 

Tree,  The  Small  Trunk  of  a 

169 

153 

Tres  sunt  qui  Testimonium  dant,  etc.  L.  da  Vinci 

42 

37 

Trivulzio,  G.  Jacopo  ......... 

170 

z53 

Turchi,  Diodato.  F.  Vieira  ........ 

171 

z54 

Tuscany,  Grand  Duchess  of.  V.  Gozzini,  see  Maria,  etc. 

112 

99 

Venus  Coming  from  the  Bath  ....... 

172 

156 

Views  near  Naples,  Seven.  Morghen  . . . . . . 

i73 

156 

“ of  the  City  of  Padua,  Eleven.  Morghen  .... 

i75 

z58 

View  of  the  Grotta  del  Cane  ........ 

174 

z57 

Views  in  Outline,  Eight,  intended  for  Coloring  .... 

176 

158 

Vignettes  : 

Arms  of  the  Duke  di  Cassano  Serra,  The  .... 

32 

28 

1 82 


ALPHABETICAL  INDEX  OF  SUBJECTS. 


NO.  PAGE. 


Book-plate  for  the  King  of  Etruria  ...... 

54 

46 

For  General  Murat 

128 

”5 

Full-page  Illustration  and  Title-page  Head-piece  for  the  Mar- 
riage of  Count  Sanvitale,  see  Germanicus 

72 

60 

Head-piece  to  the  Bond  of  the  Monte  Redimibile  . 

122 

109 

Minerva  ........... 

120 

107 

View  of  the  City  of  Todi  ....... 

166 

148 

View  of  the  Monte  Cavallo,  a Visiting  Card  for  Ulisse  Pentini, 

i39 

126 

Visiting  Card  for  the  Marchese  di  Gallo 

69 

58 

Vincent  de  Paul,  St 

138 

125 

Vincentini,  Visiting  Card  for  the  Marchese  ..... 

177 

i59 

Vinci,  Leonardo  da.  L.  da  Vinci  ....... 

178 

i59 

Vintimiglia,  Princess  of.  Morghe?i , see  Alba  .... 

4 

5 

Volpato,  Giovanni.  Ang.  Kauffmaiin  ...... 

179 

160 

Volta,  Carlo  Alessandro.  Sabatelli  ...... 

180 

161 

Wilhelmus  II.  Nassovise.  Miereveld  ...... 

181 

162 

Zuccagni,  Dr.  Attilio.  Santarelli  ....... 

182 

163 

ERRATA. 


Page  8,  end  of  4th  line,  read  eleven  instead  often. 

Page  24,  No.  27  should  be  placed  before  No.  24. 

Page  30,  before  No.  3^  insert  : 

jja  % Cenci,  Beatrice.  Guido  Reni  pinx. 

Dimensions,  I2f  x 9 £. 

Engraved  at  Florence  after  the  celebrated  original  in  the 
Barberini  Palace,  Rome.  The  plate  bears  the  name  of  Morghen’s 
pupil,  Garavaglia,  and  has  invariably  heretofore  been  wholly  at- 
tributed to  the  latter.  It  is  most  likely  only  slightly  touched  by 
Morghen.  See  Trial  proof  below. 

Trial  proof.  The  background,  drapery,  and  hair  only  are  almost 
finished  ; the  face  is  in  outline,  and  also  the  turban, 
and  both  are  touched  with  pencil.  Brit:  Mus., 
Fagan.  This  impression  has  the  following  MS. 
note,  written  by  Lord  Farnham  : “ The  Original 
Picture,  in  the  Barberini  Palace,  at  Rome,  has  not 
been  allowed  to  be  copied  for  many  years.  This 
is  an  unfinished  engraving  by  Raffaelle  Morghen — 
and  the  face  is  in  pencil — actually  copied  on  the  spot, 
from  the  original , by  Garavaglia,  one  of  R:  Mor- 
ghen’s pupils.  It  is,  therefore,  extremely  valuable 
and  is  unique,  [signed]  F.”  (This  impression  was 
purchased  for  the  Brit:  Mus.  in  May,  1885.) 

There  are  impressions  before  all  letters  ; with  the  names  of 
the  artists  only  ; etc.  There  is  nothing  to  show  that  Morghen  had 
any  part  in  it  after  the  state  described  in  the  trial  proof  above. 
The  same  original  has  been  engraved  by  Biondi  and  many  others  ; 
but  Garavaglia’s  plate  is  considered  the  best  engraving  yet  made 
of  this  subject. 


183 


ERRATA. 


184 


Page  34,  No.  j8,  end  of  line  17,  read  108  instead  of  105. 

Nos.  <77  and  48  should  be  placed  before  No.  45. 

No.  50,  omit  H?. 

No.  5/,  omit 

No.  52,  omit 

Page  130,  before  No.  145,  insert : 

W*  PlUS  VII.,  Pope.  J.  Bazzoli  pinx. 

Dimensions,  i6x  13. 

Engraved  almost  entirely  by  A.  E.  Lapi.  Morghen  did  little 
more  than  give  the  finishing  touches. 

Trial  proof.  The  head  in  outline  ; the  remainder  of  the  plate 
partially  engraved  throughout.  No  hand  is  visible 
in  this  state.  Brit:  Mus. 

do  The  head  still  in  outline  only;  but  the  background  nearly 

finished.  The  subject  is  altered  so  that  the  right 
hand  and  forearm  are  seen,  the  two  fingers  and 
thumb  extended  as  in  giving  the  Pontifical  benedic- 
tion. Brit:  Mus. 

Although  the  dimensions  of  this  and  the  preceding 
trial  proof  are  the  same,  this  is  so  much  changed  in 
the  disposition  of  the  figure  that  there  is  good 
reason  to  suppose  that  the  first  plate  was  abandoned 
in  the  state  first  described  and  the  present  one  en- 
graved in  its  stead.  The  succeeding  impressions  are 
from  the  latter  plate. 

I. ^Before  all  letters.  Brit:  Mus.,  two  impressions. 

II.  “A.  E.  Lapi  sculp  Raphael  Morghen  perfecit  ” Palm. 

III.  In  engraved,  shaded  script:  Joseph  Bazzoli  pinx. — Ang.  E.  Lapi 

sculp. — Raph.  Morghen  coepit  et perfecit  In  open,  traced,  uncial 

capitals  : DEXTER  A DOMINI  FECIT  VIRTU  TEM,  DEXTER  A DOMINI 
EXALTA  VITME  In  small  italics  : Ps.  nj.  In  large,  skeleton 
script : Pius  — Septimus  Pontifex  — Maximus  In  small, 

traced  script,  under  the  arms  : Florentiae  apud  Neolaum  Pagni. 
With  the  arms.  Brit:  Mus. 

IV.  Same  lettering  as  in  III. ; but  all  the  letters  shaded  and  engraved. 

Brit:  Mus. 


